My process is such that my paintings have two beginnings:  when I start cutting and shaping a board out of an MDF or aluminum panel, and when I first lay paint to surface after the panel has been primed.

The surface of the panel and its shape act as a terrain or even an environment to which I react with paint.  This panel's shape or terrain actively guides my choices and responses with paint, color, and mark-making.

I create a play between perceived space with paint, and observed space supporting paint.  One kind of painted space creates expectations, which I contradict with the other kind of painted space.

My process utterly governs the final image and form of my shaped paintings.

Chance plays a key role in my work: decisions I make in the second phase—-priming and painting-—are utterly contingent upon the first phase—-building a shaped, possibly multi-tiered surface out of MDF or aluminum.

Decisions made in the first phase are influenced by decisions I speculate I might make in the second phase, but decisions I make in the second phase never follow a script.

The second phase therefore is always a suspenseful second beginning.  It is this suspenseful second beginning that allows me to make work that explores that mysterious gap between paint and the surface/thing.