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.

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

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 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 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 have been interested in the dialogue of abstraction and modernist painting - and the rich history of the grid. I also think I have been influenced a bit by some of the particular qualities of the Bay Area. The weather and the atmosphere here is so exotic, like the fog rolling in and the nuanced differences in the quality of light.

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.