I was born and raised in Southern California. Our home was filled with with artwork from around the world. Paintings, etchings and numbered prints lined the walls of our house, but most family discussions revolved around politics, science and food, not art. I ended up choosing a career in the hospitality industry, first as a cook/chef, then in restaurant marketing and finally owning my own food businesses. Over the years I painted and sketched, but never took art seriously until I took a printmaking class at the local museum. The teacher took me aside and said I should really consider painting. She said she saw something in my prints that was very painterly and worth investigating. I did just that. Never looking back, I sold my food businesses and committed full time to painting. That was over twenty years ago.
Primarily self taught, I have learned from other artists, visiting galleries and museums and reading about art, art history and art process. My primary teacher is my last painting. There is so much to explore and discover through the process of creating art. Every day I step into my studio, I find something new to do or a problem to solve. Being a child of an engineer and an academic has given me the DNA to be interested in learning and figuring out how things work. I feel deep respect for the craft of artmaking, for a painting’s integrity and inherent quality.
Mostly, I do art because I feel something as a result of both the process and the finished piece. The whole visual experience, both in the creation and in the viewing, is priceless to me.
ARTIST STATEMENT | October 2023
My current body of work is an exploration into and the manipulation of the relationship between color, structure and surface.
I was born cross-eyed, which has since been corrected visually, but has left me with no depth perception. I use color, light and structure in order to anchor myself spatially when painting. Color becomes the “greenlight or stop sign” of my drive towards balance and spatial resolution.
Years ago, my work was all white paintings, subconciously avoiding color because of the intense somatic response it conjured up for me. Now I am able to level my chaotic physical response to color by creating spatial order with clearly defined edges.
While I appreciate the historical placement of my work within the hard edge and minimal art movements, neither has a conscious place in the choices I make when painting. My process has a formal quality to it, but falls outside the lines of traditional color theory or composition. I rely heavily on intuition and my consequential physical response.
Finally, the surface of my paintings are intentionally smooth and undisturbed, in furtherance of visual focus and consistent light reflection. This allows me to move spatially through the surface of the painting without unnecessary interruption.
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Costa Mesa, California