y process is heavily influenced by the commonly considered "functional" art form of printmaking. Many of my methods are pulled directly from etching, woodblock printing, screen printing and reductive printmaking. I appreciate the distance created by these techniques; the element of chance, the lack of control and the often unconscious and organic creations are fundamental elements in my paintings. These newest works possess a just-glimpsed quality, incorporating suspended movements—floating up, weighing down, breaking a surface, plunging to a depth or remaining afloat atop a plane; my compositions involve balancing these movements and images.

The paintings tell stories through time, blending visual and tactile experiences into layered and complex structures. I am interested in the history of surface, where the painting has been or what it once was, if even for a moment. Precious and quiet events excite and astound me, and these are the building-blocks of my paintings: cast shadows on building tiles, transient sunlight on a woven rug, the movements of grasses and weeds—the overlapping patterns created by teeming life.