Recent Paintings

I begin by pouring broad washes of color, laying down the dominant movement and composition across the entire canvas. As the work progresses, I isolate sections and refined shapes using a spray gun, alternating between spontaneous pours and precise contours. Midway through, I photograph the painting and sketch possible next steps on my iPad. For this piece, I projected those digital sketches onto the canvas using a VR headset—an approach that was particularly helpful given the painting’s scale.

Texture played an important role as well; inspired by Alfred Leslie’s thickly-layered abstract works, I built certain areas into more pronounced, sculptural forms, leaving others transparent and thin. The subtle suggestion of a horizon line grounded the composition, creating a sense of expansive space—like standing at the ocean’s edge or an open field. Without depicting any specific location, it invited viewers to connect their own experiences with the work.

I've also been experimenting with a new exercise—starting paintings outdoors and letting them interact directly with the environment. This involves embracing elements like wind and rain, allowing these environmental factors to spontaneously shape textures and patterns as part of the painting process.

Working in the environment pushes my paintings toward what complexity theory describes as the "edge of chaos"—a state balanced between order and unpredictability, where creative evolution happens naturally. Bringing this dialogue between structure and chance back into the studio adds exciting new dimensions to my work, and I'm eager to continue exploring where it leads.

I was recently looking through paintings by Sam Francis and was especially drawn to how he incorporated strict geometric structures and grids into his compositions, balancing precise forms with fluid, vibrant color washes. This interplay between structured shapes and spontaneous gestures creates a tension that I'm exploring in my own pieces.