I have two styles in which I paint: The first employs imagery from a specifically random array of sources, using apparently disparate icons and styles. Of particular interest are biological, anatomical and historical scraps, objects from interior domestic spaces and language. I rely on collage and assemblage to undermine and expose the irony in prevalent definitions. I do this in tandem with an admittedly nostalgic, somewhat absurdist and very personal pursuit of beauty. 

My second, abstract style, while still being a visual manifestation of this contention of passions, pursues more formal concerns: composition, mark making, surface texture, and above all, color. Each painting starts with a hidden desire, upon which I place a set of parameters. The desire is usually a color craving and the parameters usually have to do with shape or palette, layering or erosion. Thusly, the painting becomes purely about itself. I have no preconceived notion of what will emerge. The process is a collaborative struggle between the painting and me. A non-verbal language takes over, loosening and liberating the borders and constraints of meaning, until the many small moments or intersections are resolved into an overall aesthetic.