My paintings emerge out of the process of materials that I use. I begin the paintings by layering the surface with many layers of Venetian plaster over a birch plywood surface. This material contains marble dust, lime and plaster. It is a variation of the frescos used in Italy.
By layering the plaster and compressing the material, the plaster builds a polished shine. The force of the compression of layers reveals a cross section of materials, as the layers in earth through the passage of time. Line and color are very important to me. I want the line to flow and not look like it is copied or stiff. The line should separate the spaces and eventually create a shape. The line quality moves through space and does not overtake the panel. I then think about how the color will relate to the line and the overall composition. I wish to create an overall harmony within the surface.
When the shapes appear, I then like to work with pattern. There are a variety of brush marks, some are more defined than others. It is a real place but an imaginary one. There are forms you can see through. There is a feeling that you can go beneath the surface and something is there. Since the light on the panel is constantly changing, the reflection changes with the light and the dominant colors change due to the reflection of the mica powders in wax.
My work is about the patterns and images that randomly appear in nature all around us. The shapes are built up through different layers that are applied and scraped away. A line from one layer may come through another layer and a shape is formed. It is not an outline, but the building up of line and color, like memories that can fade but then come to the surface if something sparks a memory. I am interested in those murky areas where there are no clear truths. It is here where I try to imagine the laws of imaginary worlds and how I can make sense of the universe in which we live.