The fluctuations of paint capture my mind, releasing through me all that I have read, seen, and lived through, then integrated and buried as thoughts or beliefs. As I free-fall through these bits, the paint absorbs some, and as if by osmosis, a painting develops. These representational abstractions, bordering on non-representational, comment about childhood, gender roles and psychological dualities.

My paintings begin with an interest in paint. Its changes pull me in and carry me over. Working on wood or canvas, I begin applying acrylics or oil by doodling on the surface. These tentative brushstrokes give way to more confident mark-making. The confident marks once again lead to uncertain marks; at this point, I either declare the painting complete or continue uncertainly until I reach a confident finish. During this process, I feel conflicting desires--the need to analyze and control versus the need to be spontaneous. Along the way, I may wish to formulate an image. Characters tend to emerge, usually in an ill-defined space. I choose not to preconceive of any images I may paint, I likes to see what images the paint will give me.

Many times my painted images feel incomplete to me without painted people. Even my people-free paintings include man-made things such as architecture. The nature of the underpainting, its colours and shapes, its mood and energy, strongly determines the kind of people that emerge in that space. Black backdrops cloak behind figures in some paintings while in others, figures leak out of lighter grounds.

In the future, I plan to enact my art-making with more decisiveness and connect it with my other interests--philosophy and writing. I received my HBA in Philosophy, Fine Arts and Writing from UFT and an Art and Art History diploma from Sheridan College.