My work comes out of this notion that a painting should describe its own conditions. This is an old line of thought that has led to many kinds of paintings, some total opposites of others. Painting has described its flat condition on the canvas then becoming either a disembodied optical experience or merely a physical object in space. The most compelling of these paintings always have certain inevitable character to their reduction.

I, however, have been in a way working against that reduction, or perhaps, more precisely, trying to take that kind of reduction into a more agitated, constructed, and artificial place. I am purposefully skewing essential patterns that suggest essence and stability like neat grids or a series of perfectly centered concentric circles. Similarly the lightness and intensity of the colors I use is intended to be pleasurable in a way that is both an attraction and a kind of threat; a challenge to the kind of seriousness that is built on the idea of a solid, stable structure.