I think of my recent paintings as out of the ordinary constructions. The painting begins with the application of the gesso itself. The clear gesso creates a window onto the linen weave, a view that calls forth a different response to the surface. I begin the work by freely associating to the picture plane. The building blocks are bits and pieces of stuff: human, architectural, abstract. Human elements include arm or hand gestures, faces complete or in part, body parts. Other elements are objects, scenes, patterns--as found in photos, magazines, life, or invented. I may develop an image until frustrated, scrape it all off, then find something really interesting happening underneath. My collages too are constructions and all parts of each image is made by me.

In terms of choosing elements, I find elements that carry energy to be the most attractive. I avoid the obvious when it comes to subject matter as well as preconceptions about how the work should look. I know when a 'thing' comes together on the canvas or the paper because I feel an odd tickle in my synapses--a little current lets me know I'm onto something. 

I pull from all manner of Expressionism and some conceptual artists for my political-aesthetic philosophies. Artists of most significance include R.B. Kitaj, David Hockney, Francis Bacon, the German Expressionists, Ida Applebroog, Jim Dine, Richard Diebenkorn, Jonathon Borofsky, Joseph Beuys, Thomas Schutte and many many others. Right now the paintings and drawings of Kitaj and the political-philosophical images of DA DA inform me the most.