The major goal in producing my art is to apply a primal energy that solidifies my experience as a human to canvas. A fluid approach of spontaneity and confusion is essential to my finished product. The subject matter is one of universal understanding; it is the reflection of one’s self that matters most, using abstract forms to unbalance any preconceived notions of rationale. What little representations that do exist are merely adaptations of the primary idea into more fully developed forms. My willingness to let go of the customary subjects and examine the idea of belief and ideas existing beyond the plane of paint on canvas has given me opportunities to exploit my enthusiasm. My own methods of art making are straightforward, in that they truly have no convention only habits may define them and impulsiveness frees them. That process in itself is key in the outcome I deem necessary. A true palette is conceived with minimum contemplation and with total finality knowing that it will be utterly consumed by the conclusion of each project. It is my aim to teach myself to see in a very specific manner that allows the undeniable image an opportunity to spawn until the vision is complete. An innate surveillance of the initiative that hemorrhages forth the specific and general information defines the boundaries between a hypothesis and fruition. An understanding of the spectator’s position is intended to give the witness all the introspection they desire, without a severe definition of purpose. The autobiographical nature is rooted so deep that one may have no knowledge of it at all. In finding the solution to each work the initial concept must be purged several times to embalm the overall purity of the piece. The use of triggers to make connections is critical to unleashing the more imminent information while obscuring the inferior backdrop. My questioning and hunt for an image becomes the genesis and path along which my work travels. This excursion must be open and broad, and not focused on termination. I draw the heart of the action from images of remembrance, past and present, recollections of objects used, populations destroyed, manifestation of moments, or extensive passages of time. I must include everything, and yet, all may be removed in order for me to feel the tension and presence of recalled emotion. With each painting, I undertake a search for an engaging image with no pre-existing plan. The human essentials of space, time, place, landscape, and light are the perceptual cues that I use (however ambiguous or diffuse they may appear). I am motivated by the inherent contradictions in painting: its physicality, its misleading potential. I use the medium in the process itself-sometimes spontaneously, sometimes progressively, to generate the finished work. As much as each work is a result of a number of processes, the sum of canvas and paint, each is also an image that is conjured and visualized through the medium, spurred by the qualities of paint. The work automatically exists through the evidence of its incarnation, but also can imply a fiction that belies its resources.