Although I work representationally from observation, the real subject of my paintings is color. I often eschew the density of meaning that representation can afford, in favor of reaching for the fullest expression of the sensuality of color. Working from observation is a way for me to encounter color sensations and perception that are surprising and specific. Intellectually, I am engaged by the challenge of finding equivalent color notes for my perceptions within tricky or unusual color schemes. But what is more enjoyable is feeling these perceptions (of air, light, space, heat etc.) inflect the colors as I paint.
I enjoy drinking in colors that are active and dynamic. Active in that they are doing something to the other colors in the painting, each color helping me to feel the qualities of the others and vice versa. And dynamic in the way that colors can harmonize and contrast on different levels simultaneously and host competing relationships and perceptions at once. When a painting works this way, when the color world is fresh and full, not hedged with extraneous or watered-down colors, then looking at it feels like tasting it. Not synaesthetically speaking, but in a pre-intellectual way, lingering over and savoring the richness and complexity of sensations. This is my best-loved artistic experience and what I strive to offer in my own paintings.