My paintings—dynamic, gestural, and at times disorienting—exist as unstable fields demanding temporal engagement as viewers' memories and imaginations activate, their spatial-temporal positions shifting in relation to the work. Layered accretions of marks, textures, and vibrant color resist Platonic minimalism and intellectual reductionism, instead embracing the contradictions inherent in phenomenological experience. I consider Painting a gestalt event occurring within the mind rather than merely on canvas—a conceptual practice beginning in the visual but dilating into temporal experience where each stroke reframes all that preceded it. Through visual cacophony and the renunciation of recognizable forms, my work rejects the violence of schematic thought that subjugates art to rational discourse, privileging instead the poetic, open, and undefinable. My practice responds to our contemporary world's tendency to collectivize experience by creating spaces for individual phenomenological engagement, orchestrating chromatic resonance, gestural rhythm, and textural counterpoint to reveal the entanglement of making and perceiving—twin aspects of a singular event where time manifests as marks upon the canvas, leading us into the unknowable space of the sublime.
