Trained as a painter, I have, for some time, filtered my ideas through that practice. More recently, I've thought of paint in sculptural terms. Eliminating the stretcher frame as well as the canvas support from the work, I attached dried fragments of paint directly to the wall. This transposition altered the way I thought of edges and perimeters. Areas in a room that had previously seemed peripheral to painting unexpectedly became viable sites for unconstrained paint-installations. Pigment moved across walls, into corners, and stretched to reach ceilings. My perception of paint changed, but more importantly, my awareness of the space in which it was contained was amplified. Increasingly, the architectural environment became an important component in my process of art making.


At this point, conceptual and physical spaces provide a structuring framework for my thinking. I'm interested in identifying, and at times modifying, aspects of environmental perception. The choice of material is specific to the nature of each piece. Paint remains a viable means of conveying ideas for me, but just as often it seems that alternative media may more adequately describe the work's sensibility.

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