For the past 10 years my paintings have been a focused investigation of the grid, a form used to reference memories, past events, places, and significant people. Most recently, my paintings reflect how that structure can become a continuation and expansion of these ideas. Because the grid in my work is arrived at through a less rigorous application of geometry, the paintings are able to express a celebration of material, color and form.

I construct subtle, yet complex, color relationships as a way to control the speed at which the painting is seen and the subject delivered. In earlier pieces, color was subtlety regulated by the grid, slowing down the pace of the painting to a level of unhurried contemplation. Colors moved directly in relation to each other in these pieces, unmediated by the restriction of rigid geometric systems.

Colors can be used to create balance or harmony, but can also destabilize a work in order to create perceptual or spatial ambiguities. I see this potential for color shift within a painting’s structure, as a metaphor for a general conflict between order and chaos, forces that create a necessary and important tension in my paintings. By using color in a more intuitive and subjective way, my recent work has developed into more formal and structural limitations of my previous grid paintings. The recent paintings have addressed the accumulation of the ideas and history arrived at through the making of previous work. As a result, each mark and every color relationship is expressive of the context to its history.