A painting is a monument. It serves for engagement, consideration, contemplation. It celebrates as an object of desire, a provocateur, a companion. My paintings exist to honor the act of painting by focusing on formal elements, working to achieve perfect tonal balance, harmony and rhythm. The placement of equally intense colors within color families is an effort to achieve a lyrical pleasure, vibration, tension or halation. By reducing subject matter and external references, warm and cool associations can be explored along with motif, patterning, compositional movement and saturation. In the tradition of Helen Frankenthaller and other modernists who fooled around with the idea of saturation and effects that could be achieved with paint viscosity, soaking and staining, I am attempting to give the work a “life” as a canvas object.

The paintings clearly present themselves as paintings, but toy with idea of bed covering, textile, a worn and stretched work of craft. In this reference I am blurring the distinction between high art and craft, between the realms of domesticity and art-culture. As the painting’s scale grows closer to that of the viewer’s, it becomes her environment. She is no longer objectively situated beyond it, observing it in the context of a larger peripheral space. This scale echoes the dimensions of domestic objects created outside the realm of high art, though these paintings hold themselves up in their practical uselessness. At the same time they exist to serve to the emotions of the viewer. I am genuinely devoted to the task of making visible the invisible, creating totems to quiet rhythm, nothingness, continuity.

New York, 2008