Rooted in concept and emotion, my artwork today is intuitively accomplished and always evolving. Working in series allows me to experiment, often with unfamiliar materials, and I enjoy the challenge of learning and creating new techniques. Change keeps me motivated. Yet I still struggle with how to make work that is easily recognizable as mine - regardless of the medium - but not repetitive.
I love the unpredictability of abstract painting and the physical demands of working large. I build the canvases myself, and they are often bigger than me. My monochromatic series explore the coexistence of light and dark, both literally and metaphorically, while my colorful abstract paintings are in close conversation with nature and influenced by my surroundings. My studio is located at a decommissioned naval base, and the proximity of water and birds soaring overhead has unconsciously become a recurring theme in my work.
My large abstract paintings are comprised of many thin layers. This forces me to slow down as I must often wait for the paint to dry before proceeding. I use this time to examine my work in progress. Sometimes the painting in front of my eyes will correspond exactly to the imaginary painting in my head. I already know how the painting will look when finished. But this is quite rare. It is more often the case that I will spend hours staring at my painting, thinking about the work in my head first before I make another mark.
The deeper into abstraction I go, the more I realize how the act of seeing is as important as painting.