This piece: MID JUNE ( on canvas)

As is true for many of my paintings I will create a wood panel (typically birch) or stretch a canvas. I then gesso the surface and begin making marks that may or may not show through the end result. I begin to add paint in thick strokes to build up the surface. Once the surface is dry, I will begin glueing down various types of blank paper or cloth in a collage method to further build the surface and add texture.

The actual painting begins by creating areas of color—my paintings are often sectioned or divided using different color approaches (pale/bold, putrid/hot, etc.). I have referred to this as a “candy tray” or “display tray” effect. This allows me to convey a range of emotions and draw the eye. **I rarely know what these colors will be before I begin. and they will often change as I progress.

I will then begin working into these color fields. I might paint a bird (the ultimate sign of freedom) or flowers (or a combination of both) on separate pieces of paper, cut them out, and glue them down on these fields of color. I also often employ monoprint techniques over these color fields, using thick ink or paint to further add depth and texture. The printing process usually involves colors from nature.

Nothing is sacred in any part of a painting as I create it. I will often subtract, scratch out, or paint over areas until I find a balance that works for me. Accidents, splatters, and drips are celebrated as I view this as “anti-perfection”, or pure evidence of the human hand at work. I will also often create off-color painted patches of paper and glue them down over the color fields to further compliment imperfections.

Paintings can take many hours or days as I strive for a balance that feels right.

I then prop the work up on a table and live with it for a week, studying it and viewing it from different angles. Finally, when content with the outcome, I will sign the work and apply coats of matte varnish to preserve the work.