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 have, and do sometimes, work with other media. But there is something about the physical activity and the directness of painting that I find fascinating. I am very attracted to the materiality of paintings and the visual phenomena of hue and value.

I enjoy thinking about how paintings can change depending on where they are - how they look in a gallery or in relation to other paintings, or in different rooms. Paintings can change the way we experience and see the world.

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.

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.

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.