I have come to the practice of painting from a broad educational and experiential background –drawing, design, sculpture, architecture; installation and performative projects. One particularly personal insight was revealed on a director’s symposium with LA Mama, Italy in 2015: a random movement exercise was internalized as a link between physical movement and content when painting in the studio. I started to explore left panel, right panel formats as a means to challenge my handedness, symmetry and memory. Naturally, any technique can become mannered with time and skill and so I try not to get too attached to any “signature” style. Another important dynamic helps to keep me on edge - the push and pull to be descriptive. I’m good at the intersection between abstraction and figuration and when there’s a story I want it told by paint and color, subjectively. I work from degraded photocopies and pencil sketches of things I find interesting and mundane on leisurely walks. This can make it easier to interpret “reality” into an abstract analog.