My dad gave me the paper sometime in 2005…and the first “School Papers” pieces are dated January 2006. I’m not sure I thought in terms of notation so much as the paper itself and the fact my dad gave it to me reminded me of my childhood; perhaps that allowed me to begin with a […]

Each of us will have a unique compilation of remembered sensations and it is how this material shapes our work that will distinguish my paintings from those of the next painter. We really don’t have all that much control over what we produce when we work from within. What unfolds on the canvas evolves slowly. […]

In working, I try to crystallize all of my ideas, observations and impressions about line, architecture, color and geometry. At the same time, I try to keep the result open ended, so that the viewer can bring their own thoughts, and reinterpret their own experiences, to find that sensation of place that we hold in […]

When I made this painting it felt as if it was taking shape in my peripheral vision. It took a gentle act of will to keep it there long enough to finish it, like one of those dreams in which you’re flying but you know not to think about it too much or the dream […]

I have witnessed the utter transformation of what was once primarily a world of small towns and countryside into one of ever expanding networks of expressways, corporate centers and big box distribution centers. My work is informed, directly or indirectly, by these highly disorienting places. What I see are entirely new kinds of landscapes–highly engineered […]

Absurdity, as a concept…can transcend immediate frustration by asking the viewer to question, not only what they are seeing and feeling, but, more importantly, why they are questioning their awakened uneasiness. Hopefully, the dichotomy only increases when one is seduced by the richness of the painting’s surface and the enticing vividness of color… Arnold Mesches, […]

Eventually a structure that pleases me starts to emerge. Sometimes shallow space, sometimes deeper space reminiscent of a landscape or an interior. I want imagery in my work to be difficult to pin down…I want the viewer to be able to enter into an open-ended dialogue with the work, the same process that brought me […]

…so much of painting is this. It’s a recalling and churning up of experience and memory that can never be planned, relied on, or trusted. But my process requires trust. I begin with random marks and colors that over time coalesce… . Little by little, the anxiety lessens as…decisions are made and options grow fewer […]

What this painting confirms for me is that the painting process is an exchange between internal and externalized aspects of the artist’s subjective, emotional life. Intense looking and reacting to one’s own marks and moves on the canvas over time constitute the substance of that exchange. Ultimately, even when I start with a model, I […]

I’ve been home from Italy since the beginning of September, so these images, these residues, are distillations of memory that can only come with time. Unlike working directly in nature, maybe what monotypes offered me, from the beginning, was a way of reflecting on an aspect that…is absolutely impossible to approach or to understand sitting […]