The non-referential lines and shapes I use in my small scale geometric paintings are usually hard-edged and flat. My paintings are not large because a smaller scale allows for a greater sense of intimacy with the work, both from the point of view of the artist and the viewer. I work slowly, sometimes spending months on an individual painting. Over the passage of time, I distill the flotsam of the world around me into a sense of order expressed both through color and composition in an individual work. While the use of vertical lines in abstraction has been traditionally utilized to emphasize the flat painting surface, I purposely introduce a black or white over painting that serves as an intervention to this modernist trope. Incremental and purposeful modification over time is critically important to my process: I am both masking the work that came earlier in the creation of the painting and allowing the nuanced texture of this earlier work to remain visible to illustrate this process of attentive engagement, of masking and excavating, with each adjustment generating subtle changes that spur further painterly considerations. When I arrive at a place that seems distinct from conscious planning, I feel the work can then exist on its own terms with no further intervention on my part.
University of Michigan
Bachelor of Arts, 1991
The College of William and Mary
Master of Arts, 1993