Over the last several years I merged a gestural style of painting with a geometric and minimal sensibility. But in a new series begun in December 2016, form, space and color become a priority against a square format on linen. Here I emphasize the 2 dimensional quality of the picture plane and in places leave the bare linen exposed. Each painting borrows its composition from the previous painting, almost like a tribe with genetic links. Working within series, and experimentation, is core to me as a painter.
Some work in the last few years, was about aging and the passage of time. The paintings from this series were a dialectic between past and present, control and abandon, and permanence and transcendence. I like to develop techniques which mirror the themes explored. In this series at times, older paintings became new paintings as I sanded,scraped and wiped the surface with turpentine, preserving forms and subtle burst of color that became part of the new work's history. These pieces mirrored the ways in which we carry our history with us.
In earlier work, there often was a reference, no matter how abstracted, to the body. Some of the paintings refered explicitly to the female body and its sexuality and political implications. But unlike Dekooning for example, the abstracted or deconstruced figure was not objectified, but rather: the view was an empathic one, where the female form was seen from the inside out. I believe that one of my gifts as an artist is to understand uncertainty, conflict and human yearnings and make them manifest in the language of paint. All my work reflects the compexity of the human condition.