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.

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.

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 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.

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 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.