"I start by consenting to my materials; I embrace their tendencies and examine the forms that emerge.  I watch the fabric grid and rip, I watch the yarn tighten and knot, I watch the paint spill and colors blend.  The shapes happen as part of the process.  Abstract forms are steeped in the implications of the passing of time, in the fluidity or rigidity with which they take their form.  Then, I begin translating them.  The materials assume new identities and become part of foreign and sometimes contradictory processes.  Every painting is an attempted translation, a discovered dynamic, a way of learning something new.  The original attributes are lost in the newly constituted, constantly shifting relationships.  Nothing is ever correctly translated.  While the images that emerge represent new discoveries, they are also testament to the fragility of meaning and the impossibility of truth. ...Ultimately, my efforts are not to create an imagined image or orchestrate a desired effect.  Success comes when I forget the blank canvas completely and my work exists, momentarily, solely as part of time and space."