I often think of my paintings as chromatic dreamscapes. The voluminous shapes, which push up against each other and the edge of the panel, evoke seeds, leaves, fruit, fish—the nature that feeds my practice and embodies the forest beyond my studio window. My use of color holds no bounds, much like the often-hyperreal pigmentation of living forms.

I start by layering transparent acrylic paints on unprimed wood panels, which, in the end, vie for attention against saturated opaque areas, creating an interesting push and pull between foreground and background, or more largely what is seen versus what is only a hint below a more commanding surface. My intention is to take all these parts—the forms, textures, color, and lines—and create a well-orchestrated and at times, frenetic, dance. The whirling essence of the challenging and beautiful world we inhabit daily played out in a material context.