These painting start as representations of trees.  I begin with a grid to find relationships within the form. Proceeding to a wash, I negotiate the relationship between branches and sky. Slowing down again, I work until the motif of the tree is present. Then I begin to edit out lines by covering them under layers of paint.  The branches become fragmented, leaving only traces of what once was.

The paintings develop over a long period of time, often months sometimes a year. They involve careful decisions, discernment and judgment in a responsive and sensitive way. I intersperse other methods such as scraping, scratching, sanding and the addition of cold wax.  Through the layers that are built up and removed, a thick and textural surface emerges which reveals a burial and recovery.

Color is the main element for the paintings structure and subjectivity. My color choices evoke a sense of places I have lived and traveled to.  Whether it’s the silvery grey-green, blue-green and grey-violets of Seattle, or the warm sienna and ochre earth tones of Italy, nature provides color reference, while memory and emotions saturate it.