I find ways for paint to “behave”, in work marked by simultaneous contrast and ambiguous space, with surfaces that are both flat and deep.
I have a stubborn image in my head of a blue piece of sky butting up against a green piece of tree.

For over five years my work has been based on an irregular grid or weave, a "plaid" composed of three or four colors and two different sizes of bounded area. Each patch or strip of color serves as part of two distinct vertical or horizontal structural elements, and every part hovers between figure and ground Recently I began placing that grid in a field rather than filling the picture with it, so that it now acts more like a noun than a verb.

October 2015
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