My studio work is a central part of my life and I'd be at loose ends without it. When I'm not in my studio, I don't stop thinking about painting.

I'm interested in how paintings can change or transform - sometimes through close examination or viewed from afar; or how they hold the space of a wall or interact in a room with each other.

My studio work is a central part of my life and I'd be at loose ends without it. When I'm not in my studio, I don't stop thinking about painting.

Only at the end of the last stroke of paint, you can begin to wonder what needs to be done next.

I am very invested in the physical activity and the decision-making that is involved with making paintings - nothing else is quite like it.

I moved to Chicago and began attending the School of the Art Institute of Chicago. The students and teachers I met in Chicago were politically active and also passionate about the same things that I was interested in. It was a great match for me.

The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.