I work non-representationally meaning I’ve removed the material subject as well as the narrative. I’m also not fixated on the outcome. What I’m looking for is somewhere in the process of painting itself where I’ve chosen the gesture as my primary vernacular.

When talking about painting, people like to discuss gesture's emotional content. But for me, that would fall short. I like what Robert Rauschenberg said to the art critic Calvin Tomkins that he had no interest in expressing himself. Bob would say, “I think art should be more interesting than that, than my personality.”

The gestures in my work are not expressions of emotion. They are working at a deeper level of connection. My gestures are more akin to how we discuss them in drawing—as a manifestation of movement and energy. The gestural lines improvise their way across the canvas. Rather than having my mind dictate what the hand will do, I let the hand lead. Then, there is only the clarity of the present moment which is the most natural place to be.