My work is focused on exploring how forms and space can be manipulated to show relationships, contrast, and movement. For most of my paintings, that means working with two variables: lines and exposed paint. 

Series and areas of very thinly etched lines, either horizontal or vertical, are used to express how objects, or people, or ideas, can be translated into a certain context. These areas allow me to express both “this is what’s happening,” as well as “here’s the area where things could happen.” Using a commercial laser cutter, I ‘scorch’ the lines directly onto/into the panels. Every detail, every line is controlled down to the 1/100th of a millimeter.

And then the painting itself: after mounting layers and layers of different colors of very thin paint one on top of the other, I use sandpaper to to carve into the painting. My goal is to ‘express’ the color underneath. The process is inherently a little chaotic. I obviously control where I sand, and can control, to a degree, how much force I use. But it is an inexact science. The colors and patterns that emerge can be varied and inconsistent. At first I found that daunting; over time I realized how that uncertainty, that chaos, is as exciting contrast to the rigorous placement and control I use to for the lines. 

That combination of certain control and uncertain chaos excites and inspires me. Over the course of creating this series I transitioned from a monomaniacal focus on exerting control, to an understanding that curbing that impulse could be both interesting and powerful. I hope you enjoy.