I have always been fascinated by the ability of paint to act as both image and
raw material, as picture and as pure form. My paintings are meant to embody
this visual alchemy where layers blend together and pull apart, and where
images dissolve and re-form in our mind and memory. My interpretation of the
language and limits of painting is a consistent source for new work.

I often wonder whether there is an underlying current to things, something
holding people and places together, facilitating the collision between mankind
and the natural world. This is why I am attracted to the idea of layers and think
of my paintings as different elements converging – the images, realities, stories,
and people belonging to every experience and place.

A photo of a shop window or a reflection often initiates a painting. I’m amazed
by how something so ordinary can also be so visually and psychologically
puzzling, how it can quickly represent a larger underlying mystery of what we
observe and experience. I see this type of questioning as being linked to the
way we encounter and interact with the world, and my paintings are a response
to this. Stopping to re-think something as simple as the act of seeing interests
me, because it suggests how little we may know about the world and the many
mysteries reflected in its windows. This may be what poet Theodore Roethke
was referring to when he wrote, “a poetry of longing, not for escape but for a
greater reality.”