My visual interests are never singular. As a studio artist in the 2-dimensional, my resources include the landscape, abstraction, photography, and recently the inclusion of color and line using familiar materials in the studio: tape, paper, colored-paper, cut-paper, sketchbook-paper, magazine, newspaper, and more.

The paintings/drawings currently include process-vocabulary from concepts of art/design, often referred to as "formalist" in nature; however, my inquiry does not seek conclusions or clarity in direction or production. The paintings and drawings are personal sketchbooks in that they provide a means for me to inventory ongoing interests in my own process, such as how do lines, edges, inside/outside, space, color, and texture get there? How do they make their way from somewhere else (a tube, a table, a file) and onto the canvas? I began to realize that the colored-paper and even the tape offered a way to bring "marks" to the canvas; they were no longer just part of the prep but an ingredient in composition. I have since recognized a utility in the tape/paper by providing a welcome distraction from the "history" of oil-painting that looms over many of my ilk. And that Romantic admission is also my sole rationale for the neon-color, colors which are uncompromising in their singularity/individuality, offering no assistance in form, since they adhere to nothing but themselves. I often find myself working around them, pretending they're not even there. It's as if there is another voice in the conversation, but a voice without ears to listen---I find this thrilling! and the tension keeps me engaged.