I usually start with some point of fascination that I want to relate with. It doesn’t matter where it comes from, or how complete it is. The spark can be a few words, an expansive vision, a remembered image, or the materials themselves. The way to relate is by painting. Painting here is an open questioning. What would that be like? Is that something? What would happen? What next?
I use oils. It’s mesmerizing stuff, taking on endless qualities. Just mixing it on the palette floods the senses. I try to find ways to include that infinity feeling in the work, trying not to ruin the paint by painting. There are moments like “ah, I’ve seen that in so and so”—passages of paint that share in a lineage. But I’m not a technician, and I don’t have a prescribed method. There’s a lot of play, on the spot.
Subjects can be anything, evidently. Sometimes the image is there before I start, and at other times, the image pops out of the process. But I never have it pinned down in my mind. The materials lead me along. The images tend toward the unreasonable, disquieting, humorous. They can pop up like a quick joke. Surprises feel real. It’s a puzzle that we can surprise ourselves.