Pictorial abstraction and objecthood converse in my paintings. As dual entities they have to compete and co-operate and ultimately reconcile. Almost any object can replace the ubiquitous rectangular plane, confound the very definition of it, and still be the foundation of a painting. Even the pieces on the floor are paintings just like the ones protruding from the walls because all of them begin there. Each part is made with the idea of reconfiguring it as many times as it takes to progress. This process of restructuring abstract formal relationships suggests autobiographical or narrative content stopping short of specific references. Subjective readings are as integral to my work as the formal and material encounter with color, image, surface and form. The physicality of a particular piece informs how I paint it, as the developing image changes how I see the form. I'm after the sense that there's something happening, possibilities that I can't completely know, and that the artwork is caught in a particular moment of time.