A simple exercise which shows how much of our environment is organized by parallels is to pick a place to stand in any urban situation; a street corner or an interior space and visually count the number of vertical divisions in your field of vision. Now count the number of horizontal divisions. The color band paintings I make are more easily understood given this context. They celebrate the linear grace and tension of our environment and represent a coding for how plastic phenomenon is organized. My response to our living in the geometric matrix of horizontal and vertical is an attempt at reducing this visual information into a unified language which serves as the basis for how the picture plane is organized. This is the function writing serves: to organize a set of symbols which represent thought and reality so that they can be conveyed. The paintings can be seen as transformations of reality into a reductive language; their purpose being to first satisfy my curiosity and secondly to communicate my findings to you. The irony here is that the methodology by which this particular language came to be is in itself a product of successive transformations. More in relation to sculpture than painting part of my wanderlust concerns how the selection of material can drive form. The transformation of scale by material choice is particularly fascinating to me. Found pieces of wood used in their unedited state and employed to create a cityscape give the execution a quicker and more lively attitude than if they were fashioned individually. Carefully cut foam board can be used to impart whatever scale is desired; a truly monumental scale can be achieved within an extremely small format; using the debris from the cutting table to fashion a design sometimes allows a piece to resonate with far more passion and drama than the piece which produced the discarded pieces.

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