These paintings are rooted in the physicality of urban landscape and the luminous buzz of evening light. As abstract paintings, they also evoke something even more local – an intimate sense of lived experience within one’s body, including pre-verbal observations not yet coalesced into fixed images, alive and reconfiguring at the level of our synapses.

Densely layered and decisively edited, the paintings feel solid and rooted, yet open and breathing. Configurations lock in, setting up a spatial structure that takes on a slightly disjunctive shift, as implied connections and ghost images assert an alternate read.

As visual dialogues of call-and-response phrases, the paintings reflect a particular attitude about improvisation, focusing not on complex elaborations, but rather on the concentrated way that different parts contribute to the underlying visual statement. Remaining attuned to bringing forth the emerging content in the most accurate and necessary way. This involves a spare economy of means, in which nothing is extra, and everything is necessary.

Shifting spaces resolve, similar to the way polyrhythms can resolve in music. Another aspect of music that relates to how these paintings function involves resultant tones, when two voices interact to construct what we hear as an implicit third voice. The painting takes shape as a series of resultants rather than a fixed image. This may sound mysterious, but it’s a specific and integral part of what happens in seeing these paintings.

These paintings become charged and concentrated visual situations for looking at, and into, as resonant places for durational seeing and thought. Painting as a communicative presence, for being with upon the slow read.