I used to do more realism, but over time I was drawn toward abstraction. I like the adventure of it—its spaciousness and its sense of surprise.  In abstract painting, ideas and emotions are suggested through movement and colour.  There are hints of an underlying reality, though the painting is not tied to it.  I believe abstraction actually emerges from realism. It contains elements of realism—recognizable colours, textures, shapes—and offers a new, different way of seeing them. Abstract painting is, in part, a discovery of the music underneath all the noise. Sometimes, this underlying music is bright, and sometimes darker, and it may have many notes or just a few.

Abstract painting also lets people bring more of themselves into their relationship with the art. Not everyone sees the same thing.  Each person has a unique perspective on the painting, an experience that is never quite the same as anyone else’s. People sometimes ask me whether something they see in one of my paintings is actually there. I tell them that if they see it, it’s there. I’m sometimes surprised by what people see and—through them—I learn more about my own painting.  Each person’s experience is precious and irreplaceable, and participates in the expansive adventure that drew me toward abstraction in the first place.