My ambition is to construct a painting so that the whole of its surface is alive, however I look at it. Each mark, and the interval between each mark must give something back on its own terms.

I'm trying to do something that is real. What I mean is this my sense of being in the world starts with a physical relationship with my surroundings, their weight, texture, density, transparency, and so forth.

The paint has a skin to it, here taut and glossy, there wrinkled, abraded, scarred. It is pierced, abraded, scraped. A line drawn through it will go through half a dozen states, from the furry bloom of crusted charcoal to a blind furrow, cutting a channel in to soft paint below.