The decisions I make as I paint are prompted by the need to create minor explosions by juxtaposing contrasting methods, materials and color. I am essentially guiding the viewer through a contemplative exercise by peeling away layers to reveal the simple paradox of perception. The cubist model of flat pattern and skewed perspective disturb the illusion of form and one point perspective. Photographic elements and layers of sunken detail collide with thick impasto to crack open a brand new vision that arises in a moment of recognition.
What is revealed is my everyday dreams and concerns and a raw attempt to reconcile this chaos. The landscape of my paintings unfolds like a Tibetan tanka painting where plateaus of consciousness float like passing thoughts in a sea of contemplation. Architecture seems to me the perfect playground upon which I can, with a sense of irony and humor, examine my psyche. The paintings describe idealized landscapes where the natural world’s complexity of pattern tends to swallow up human form and architecture. Animated, alive with color and whimsy, the vernacular structures are able to merge with their surroundings – challenging the modern definition of human made. It is an intimate and awkward setting that reflects an unusual blend of worldliness and naiveté.