In my daily studio practice I experiment with organic shapes, textures, images, and forms placed against each other like a puzzle, retaining a sense of structure, a sense of presence, a sort of all encompassing weightless mass.
Often these studio experiments are realized by using enamels, tar, polyurethanes and acrylics on canvas. At times I utilize a visual naming convention, an obscured objective image, an visible palimpsest archetype, and systems of filtered signifiers. This process-intensive studio practice functions as a point of departure that inevitably leads to new avenues of contention and dissonance.
This to me, is the zenith of painting.