I have always been intrigued by how our eye moves through a painting as analogous to the motions of the eye as the body passes through space. The eye travels through a host of pathways, obstacles and detours, in a kind of catch and release action. Moving forward, backward or around, slowing down or speeding up in a visual scrutiny, whose rhythms and halting arrests of motion parallel the kinesthetic responses of the moving body.
In my large-scale paintings I rely on two ways of creating space. The use of perspective to describe spatial depth, and a method used in architectural design – the ground plan diagram conceived schematically as in a map. By these different means my aim is to depict a variety of abstract forms and their relationships in space, together creating an imagined impression of place, of a virtual location.
I treat acrylics like watercolor, making the most of its transparency, fluidity and luminosity to attain a greater potency in my particular use of color. This painterly, ambient environment provides a milieu in which geometrical images and rhythmic linear elements serve as a counterpoint. I also wish my forms to move: to cause looping lines to unravel and rigid contours of a shape to diffuse into its surroundings.
