By examining and experimenting with the nature of a painting’s space and painting’s relationship to humanity I’m exploring a familiar vernacular. Asserting the physicality of the work by not disguising its materially permits the beholder to have an experiential relationship with the surface and support of the painting, thus affirming the work’s objectness. Painting can process all the ways that things could be in the world.
I use abstraction to achieve a visual democracy, where you can really make choices about what you’re looking at: “Is this the part that you can put your hand through or is it the part that you grab?” I’m not interested in the beholder having a passive experience. My paintings have become more active and stimulating objects. The meeting of these objects and the beholder has an effect, thereby changing the world.