For nearly fifty years, pattern served as the organizing principle of my work — a metaphor for the complex systems that govern our world: physical, emotional, psychological. Pattern embodies the order implicit in these systems, while the play of altering and deconstructing it allows for the intrusion of disorder, the unexpected, the unpredictable. That tension between order and disorder ran as a unifying thread through everything I made.

The work has since moved into different territory, as I have. What drives it now is less the architecture of visual systems and more the weight of interior states: memory under pressure, the awareness of finitude, a reckoning with questions that come into focus only from a certain distance along the way. My materials and substrates have changed as well, returning me to my roots in the painter’s domain. Nonetheless, the new works continue to build in layers that carry the record of their making.

What remains constant is the pull toward the unseen — the emotional and psychological terrain that we sentient beings occupy but for which we often fail to find adequate words. Working largely with abstraction, sometimes hinting at representation, I pursue imagery that hovers in that ambiguous space between the recognizable and the indeterminate. I am drawn to dream spaces and the malleable territory of memory, and to the threshold between the physical world and whatever lies beyond it, if anything. My hope is that the work evokes in the viewer some experience of these worlds held just below the outward surface of things.