My painting comes out of personal experiences, including conscious and unconscious dynamics. None of this is “coded” into the work, nor do the paintings simply embody my emotions. Rather, they visualize the process of self-revelation in a kind of internal dialogue. From a family of psychoanalysts, my direct and indirect exposure to the practice of psychoanalysis has been long and sustained, providing me with an unusual awareness of my own consciousness, interaction with the world, and dreams. As a result, I know better than to recount my experience in my art; instead, I give visual form to what experiencing my life feels like – indeed, to what awareness itself, an abstract concept, feels like.
This embodiment of sensation and thought has always been the purpose of abstract art. In particular, I feel close to the transcendental tradition in postwar American abstraction, from Mark Rothko to Ross Bleckner and Philip Taaffe. Through this practice, I am able to manifest my regard for reality as a psychological rather than cultural dynamic. I see the artist’s role as restating the internal psychological object through a language of images that make that object relevant to humanity. The images themselves come from both within my imagination and from the natural and manmade environment around me.
I fabricate my paintings by building up several layers of poured acrylic paint and acrylic medium, sanding extensively between layers and ultimately forming a “skin” on the surface. Working intuitively, I apply the pigment and medium with brush and airbrush, rendering organic shapes across the canvas. I then pour more layers of medium over the shapes while refining and adding additional ones. This results in the depiction of a deep space.