The intuitively drawn mark is the foundation of my process. Each mark’s particular character leads to other gestures, which reflect, contrast, obscure, or enhance it.

My work comes out of basic tactile experiences of the medium like varying pressure to carve a line through space or bumping one color over another to form a flickering complexity.

I build rhythmic structures in which marks tumble over and through one another to form areas of density and openness. I’m guided in this choreography by my search for simultaneous balance and continual movement.

Chinese landscape painting has influenced my work. My marks emerge from and return to the white of the paper or the field of paint. Like in Chinese landscapes, the emptiness has substance.

The results of my built-up, intuitive gestures are suggestions of natural phenomena like flowers, tree branches, shifting light, and falling leaves. The sense of landscape is not of a static, particular scene; it is a sense of continual becoming.