When I approach a painting I begin a journey and exploration of texture and of color. I lay down a foundation of textural grounds which enable me to escape the "white void" of the unpainted surface. Most of the time the color and texture are done randomly and provide me with a pleasant surprise on which to create. This creative playtime allows the paint to lead the painting process.

I tend to layer glazes of color over the surface using brushes, brayers, trowels, paper towels and my bare hands. Many times I will put down a layer of paint only to remove most of the paint, leaving only a remaining trace. I like this way of working as it most reminds me of the natural weathering process in nature. The elements eat away at a surface, exposing past layers and color, revealing a sensual texture for the eye.

This elemental weathering of the surface is what I attempt to emulate in my work. With the veils of color applied to the surface, the viewers’ eye is drawn to different areas of the work that contain exposed color and texture. Strata and color are shaped by the elements creating a “pentimento“ or repenting of the surface, concealing or revealing the original intention of the object.
The surfaces become more tactile to me when I start to draw and further abrade the surfaces with graphite pencils, pastels and even scouring pads.
 

Just like finishing the last page of a great novel, I am often saddened when the process is complete. I will stop and let the painting rest for a time, checking in occasionally to confirm its finality. When the final touches are done and the painting finalized there is a sense of coming full circle as the process or journey is over. The ultimate joy comes from seeing the work hanging on a wall being explored by the viewer taking their own journey through my work.