Painting has the capacity to act as a screen, object, and activator of space.  As such, I am engaged with painting not only for its self-referential properties, but because of its ability to fully engage the act of seeing and being. In the studio over the course of working a painting, my perceptions change as I become increasingly aware of a work’s process and individual problem sets, as well as its embeddedness in a larger physical and historical context. In attempting to increase the work’s status as a manifestation of a particular process, space, and history, I keep an attentive eye on the physical periphery of the studio and how the work locates itself in a space. The result is a conjunction of form, material, and space that situate a particular dialogue between the viewer, work, and location.
 
Through appropriation and re-contextualization of Modernist structures I examine the roles of conventions in contemporary painting, opening the way for provisional painting and multiplicity.  Multiplicity arises from a zone of creativity that allows for source and process to continually be open. By allowing painting inflection, or shift in the work, new potential is introduced.  This potential pries open the sourcing opportunities and makes one aware of the embedded and arising problem sets that might exist in each work, allowing multiple entry and exit points in the process of making a painting.
 
Provisional painting emerges from an inflective studio practice by asserting marginalization, inconsequentiality, contingency, and shifting over hierarchy, permanence, and universality.  My works are self-contained, unassuming, full of modernist structures, and devoid of agenda.  The paintings are provisional in their format, process and positioning within the viewing space, marginalized by the re-contextualized modernist structure, the suppression of the grandiose, or unconventional placement in a viewing space.