My works, in the tradition of the Washington Color School, use color not just as element, but as primary theme. These wall studies straddle the fence between painting and sculpture. Objects of glass, mirror, or metal mounted on boards are embedded in a mixture of texture and layers of brushed, sprayed, or poured paint.

I begin with a long period of meditation, and then I mount the objects on the board. Once I begin pouring, I do multiple pours on top of each other to build up layers. I play with textures, patterns, and areas of color, manipulating the paint by tilting and moving the boards or stirring and rearranging the paint with a silver spoon. I pour more and more colors on top of each other until they interact explosively, creating the push and pull. The pours are controlled and at the same time random. Knowing my materials allows me to predict to some extent what will happen, but there’s always an element of surprise, the freedom of the molecules working together to let nature come through. Pouring paint onto and around objects such as pieces of stained glass, I get the play of the solid object against the fluidity of the pour—the sense of fluid motion frozen. Each piece captures the magic of the moment in which it was created as I dip my ladle into the river of life and scoop up that instant in time.