In my painting, the process of the work has become central to the direction and intensity that will eventually reveal its meaning, if there is one. Sometimes the painting only offers the opportunity to contemplate the process.
I utilize mixed media and unconventional materials such as fabric, found scraps of metal, wood and plaster. My tools are trowels, knives, sticks and cheap brushes.
I work in continuous cycles of building up and tearing down, burying some parts only to dig them out later. I might add scraps of old works or an object. Each cycle confronts me with new problems and a new reality to challenge me.
The imagery has varied over the years from figures, to body parts, to simple symbols and geometric shapes. I like the imagery to feel spontaneous.
I suppose the intense activity of the process is what I am most attracted to . . . it invites marks with 'no thought' or expectations.
These layered cycles become the painting's history and a part of my collective experience. My decisions are both conscious and unconscious . . . My choice in most cases is to trust the action . . . my continuous attention will eventually emerge into an arrangement of wholeness which becomes closure . . . The painting feels complete and I am no longer a part of it.
The painting now exists in its own reality... I am challenged as is the viewer to actively participate in seeing and responding to the results of process or something that transcends it.
Success or failure is not a criterion for its communication. For me, it is the prelude to the next painting.