I work in the expanded field of painting, pushing the envelope of the medium, using materials and processes I have developed through experimentation and exploration. I am not painting pictures containing images, but rather setting up conditions for the viewer to have the experience of engaging with the object or picture that she/he is complicit in the realization of, in a particular site, within a particular moment in time. Documenting the work yields photographs which show only a particular angle, moment, location and point of view. And the camera sees differently than the viewer does. These paintings are arrived at through a negotiation with materials and materiality, occupying physical and perceptual space, in a zone between painting and sculpture and drawing.

While it has been traditionally assumed that the ideal vantage point for a viewer is to position themselves in front of the painting in order to apprehend the picture, I am seeking a different relationship between the viewer and the work. In my work, one is compelled to view the painting from various angles and stances. The viewer becomes aware that the painting occupies a physical space in the room, and being reflective to some degree, it pictures the site within which it is encountered.  There is a sculptural and performative facet to the work:  the viewer sees that the picture is in constant flux, determined by her/his own movement and agency.

Photographic ideas, issues and processes inform my work. The layer of reflective silver mylar film, which is always present as a ground in my paintings, is analogous to the film plane of a camera.  Here, the image is never taken, apprehended or fixed. I am engaged with the antithesis of the decisive moment. Ideas about exposure, imprint, focal point and depth of field run throughout. The so-called picture is determined by the viewer’s shifting vantage point in relation to the work; the viewer is never static and neither is the picture.  I am interested in that liminal moment when freshly exposed photo paper is immersed in the developer tray and the latent image begins to form but has not yet coalesced into a recognizable picture-- the moment of suspension, between the process of becoming visible and the legibility of form. I strive to capture something of that dynamic, to invite the viewer into that fleeting and heightened moment.