About my art process:

Essentially, I am a painter. But I don’t use brushes. I roll out paint on slick, clear barrier coats isolating the previous layers. Then I “unpaint” selectively in some areas by slicing cleanly through the drying paint with tools I’ve made so that all previous layers become part of the image. I incorporate pH-buffered flat items like fade-resistant industrial films for visual effects currently not available in art paint.

Compositions aren't pre-plotted because it’s more engaging and challenging to anticipate and reassess how colors, values, and forms interact with each other. I make and solve complex aesthetic puzzles for a living.

About the art, art world angle:

-I identify my work in the context of historical modernism - specifically MCM minimalism and linear abstract art. I would like to be a minimalist artist, but this is what comes out instead. So I've convinced myself that I have created brilliant irony by “baroquing up” minimalism. For me, the inevitable progression of working with minimalist principles decades forward means degrading them by compounding many lines and shapes, mixing organic textures into hard-edge linear forms, and even adding previously declassé shiny stuff. I incorporate sparkly celestial references to reinsert the natural world into classic modernism, something which was just about human achievement.

But original minimalist art itself is many decades surpassed and MCM artists aren’t the only reasons that we all know shapes and lines. Our species uniquely and commonly organizes and advances itself with linear forms. Artists got hip to the beauty of those forms over a century ago. My work hopefully is a fresh and meaningful progression in that lineage.