I am of the belief that the human mind is hardwired to create order out of disorder. I begin each work with a rhythmic web of marks, lines, and colors that stretch across the painting surface. It is important to integrate the unexpected into my work: with every misstep that occurs, there is an opportunity to take the image in new directions.

As I am interested in creating a varied and complex surface, I work back and forth between the addition and subtraction of materials. I liken my subtractive process to the excavation of earth, which an archaeologist undergoes when searching for remnants of the past.

Archaeologist Marie Louise Stig Sorensen relates, “..material culture is at the same time active and pliable, meaningful but not absolute.” The imagery, which emerges from my artistic process, owes its inspiration and existence to the initial marks, lines, and colors, and to all of the subsequent layers in between.

Thematically, this body of work circles around the multiple meanings of home. “Home” is a word we use to indicate a wide range of meanings from physical (architecture, structure, landscape, locale/ place) to conceptual (safety, love, belonging, comfort). Only in the languages of northern Europe does a single word bear such freight of significance. The architectural forms that occur repeatedly throughout my paintings explore these possibilities. In addition, the home may serve as a symbol for oneself. As I negotiate the process and materials of painting, I seek to uncover new meanings within the work itself.

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