In my painting, I take the approach of investigating 20th century modernist methods of creating forms, freewheeled with spontaneity and compositional influences of the most visually challenging painters of the pre avant-garde. The work has no direct literal message, freeing it of an overly subjective interpretation. It is my aim to strive for the strongest visual poetry, to be there yet never quite said. In addition to the lack of indexical subject matter there is often a disruption in form, color, or line allowing your mind to complete the passage not unlike when you read words in Old English or internet memes where words are spelled with half the wrong letters. In the age of information we have at our disposal a plethora of visual knowledge not only in the media, advertising, foreign civilizations, but also all the art that came before us. I am very fond of synthesizing ideas, which allows for new freedoms in art that can be both relieving and challenging. I constantly feel at battle with myself when creating work. You find a great brushstroke to use and then realize you can only use it once because any more will dilute the voice. And so redefining each passage with an alternate approach than the obvious while remaining cohesive is a daunting task. But it is the strangeness of these juxtapositions that keeps the poetry alive and my hope to re engage the viewer at every returning moment.