I adore abstraction, a place where nothing is obvious, straight-on, or predictably duplicated. In the studio I am searching for both structure and fluidity, for containers and boundaries I can slip. I am constantly learning new visual languages while willfully working to destroy them. It is confusing, often liberating. I am most satisfied with my work when it feels foreign to me and I cannot reproduce it, and such satisfaction is rare. To my amusement, my work often reflects an optimistic, mid-century modern aesthetic and a sense of layered, continuous motion.

Music is an important part of my studio experience and inspiration. It is not unusual for me to use the rhythm and structure of specific songs in composition, and fragments of lyrics show up in my titles and penciled onto my paintings. I have a fun side project creating album art and blurbs for fake rock bands, and a dream gig would be resident artist for KEXP’s live performances, translating the power and presence of the shows into visual work.

Writing is integral to my creative process and I often alternate visual art production with abstract writing. You can read my writing by subscribing to Northern Gray Dispatches, an email letter I write without commitment to regularity. This is the part where I could ask you to subscribe to my studio email list, but I would rather paint it than say, so here we are.

Currently I am repurposing piles of old work, including the giant body of work that was my first musical abstract series. I am experimenting with painting and mark making without brushes, and I spend more time scratching, scraping, and sanding away paint than I do applying it. I am active in the local arts community and am gathering a community of abstract artists for discussion, creative growth, and scholarship.