I paint to learn. My process hinges on exploration and the resulting development of my skills and understanding of materials.

In my current body of work, I begin by thinking largely about a certain energy or inclination. I allow my lines to guide me, not concerning myself with the aesthetics of their placement but rather with the aim to find early balance and harmony through corrections and redrawing. There is a safety and comfort in reworking. Drawing is my foundational process, inherently flexible and meant to be manipulated. It can be an approximation or a concise notation. It is a reassurance, a reminder that there are no hard and fast rules that I need to follow.

I consider the intersections of line and what negative or positive interplays these could create. I like to establish a visual foundation of rhythm, push, and pull. Then I can bring in paint of varying viscosity, from almost opaque, to highly fluid, to transparent and dripping. I am sticking close to home with a primary palette that celebrates my excitement for pure color and removes the risk of overthinking tonalities. For now I prefer to consider how color can be connective tissue to the drawn line.