It is impossible to convey—in words—what I do in paint. The hand grabs a brush and my eyes tell it to feel the colors and the arc of waves in space, and the bristles spread like hundreds of fingers so the hand can feel what the eye says should be seen. The paintings here fall into two categories: those that are observed (landscapes) and those that belong to an imagined world. Both kinds of paintings share basically the same techniques characterized by haphazard brush strokes, colors mixed directly on the canvas, and a rapid, aggressive approach suggesting impatience or frantic inspiration otherwise known as Impressionism or Post-Impressionism. It’s my feeling that the impressionist approach gives the imagined paintings more of a sense of reality, as if they had actually been observed. I believe anything can be the subject of a painting, and there is no subject that cannot be made compelling by a fresh or honest approach. I only seem half in control of my own techniques; the unconscious side seems unruly and destructive, yet it is through these alternating waves of destruction and reconstruction that the concrete elements begin to appear.


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