My practice stems from a desire to understand and to be close to my subjects. Working from direct observation or photographs, I paint one or two people repeatedly for several months at a time. I also work from still life objects that are distinct representations of people or memories from my life.
In composing a painting, I consider how much information is necessary to illuminate the essence of the subject. By essence, I mean the things that are vital to the existence of someone or something and secondly, a presence; the physical and psychic sensation of the presence of someone or something that cannot be put into words, but perhaps can be found in painting. I veil areas in order to reveal others and exclude information in order to expose the underlying layers of the surface. I build translucent fabric windows — barriers to look through when I paint my sitters from life, and fabric canopies that shroud and conceal my still life objects. The use of the veil creates the illusion of an image that is suspended; both emerging and receding in space. Painting the physical barrier between myself and the subject reflects an on-going desire to uncover what lays beneath.
My painting practice is about relishing in uncertainty and living in a world with a paucity of answers. It is not about certainty or finality, rather it is the mystery itself, the tiny clues that keep me curious and the seduction of it all.