In my paintings, I use saturated colors, abbreviated detail, and throbbing contrasts to create loose, simple compositions full of energy. Although my work is representational, I am not interested in recreating or even capturing a scene. I am interested in the unique emotional and even spiritual impact that paint on canvas can have on a viewer. So the recognizable forms aren’t engaged in narrative or symbolism; they are just convenient agents by which the paint works its own wonder.
I use a simple and direct process of painting that encourages a child-like playing with paint and discourages over-thinking. I work very quickly, leveraging the fast drying time of acrylic paint. Focusing on large shapes and values, I lay down an underpainting and then block in color, highlighting minimal detail with the retouching of values.
In the painting process, there is a crucial spiritual element of letting go and not worrying about the results. So a successful painting must have a freshness about it, an element of chance and risk. Painterly strokes, occasional oozes, drips, and accidents tell the story of risks taken and speak to the importance of paint over subject. When everything works, I want the way in which I go about painting to have a bearing on the way in which the viewer connects with it: not by intellectual process but by that unnamable and effortless power of paint to touch our spirits and point them upward.
Appalachian State University, 2001