"What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media.” Robert Hughes, to Royal Academy, June 2004
My paintings evolve over long periods of time. Making paint is a time-consuming yet rewarding process. The procurement of matter always holds some backstory that enriches my experience as a maker. There is much preparation involved, which can be likened to a potter kneading the clay. I hope that somewhere in the work skillful acts of labor are conveyed.
My interest in mingling surfaces, or disparate terrains, in a single work has forced me to experiment with a variety of materials and substances to communicate, beyond typical conventions. Although my training in Nihonga, tradtional Japanese mineral pigment painting, is embedded in all that I make, my paintings are highly personal and best labeled-if one must- as rooted, American abstraction.