The paintings are kind of set in the past, present, and future all at once.

I felt like I had reached the end of a period of life, where the work was jumping about and pushing something new every time. I wanted to dial it back and create a language that was stable and deep.

The paintings are kind of set in the past, present, and future all at once.

There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.

Using painting as a metaphor for consciousness is what I'm interested in.

The moment is never perfect. It's like that right now - in my head I'm being super lucid, but you never are. You're always fumbling.

Small thoughts grow into a picture. It may suggest an individual or it may suggest a place, but generally the painting's job is to work that [idea] into an abstract proposition that is completely removed from the starting point.