Marking up a surface, I imagine I'm exploring the nature from which  we're all made, it's an alchemical endeavor, emotions and chemical bonds  conjured up from seemingly random patterns of light. Painting and  drawing engage multiple senses: The energy radiating to the brush or  pencil and reverberating back, the torque and weight of the line, how  easily it flows — noticing how thoughts are influenced by these  sensations and stimulated by the marks seen. As the various frequencies  and patterns merge, preferences for certain curves, colors and textures  are formed. A narrative begins, an argument needs to be resolved.

The process engenders conceptual word-thoughts for me. My art practice  facilitates analytical thinking although I imagine and follow  idiosyncratic rules, maybe subconscious, maybe physiological, to help  channel and direct the flow of my work.  A quirk of movement can create a mark that, in an instant, becomes the  driving force of an artwork. Gestural shapes take form as fantastical  beasts. Many evolve to depict multiple forms in a vast arrangement of  psychological space. From the imagery that guides me through a picture  to the intersection between my own physical body and the making of the  art, the artwork's dependency on who and what I am for its creation  illuminates me. I treat this as a form of divination.

Thinking about the visual data transcribed on a surface takes me inside  the mind that I inhabit. I play a lot with phenomenological space,  observing my reality, t