Exactitude, winged by intuition, is at times best. –Paul Klee

outlined, checked, filled, and flaw-
lessly boxes and borders
give structure,
add pressure,
deem worthy
each entity—a painting or person—of being
planned ahead of time
and space and
the matter flinging wildly
across an otherwise
raw, woven surface.

I covet the intuitive nature of one who has just learned to write—the way words topple in and over a page’s lines. I can envision each wobbly turn of the pencil as it clunks out letters, tilting to their decline. Painting is my way of harboring that preciously imperfect humanity. The acrylic mediums and chalky pastels that I press into a surface are tainted with quirks: my flicking wrist, my bony fingers, my need to touch with palms or knees.

Gestures constantly spew from my hands, but I also take interest in Klee’s exactitude. My current work melds the automatism of mark-making with the deliberate laying out of edges, bars, or forms. The paintings do not simply act as a platform for untamed marks to run rampant, but instead display their relationship to the linearity that frames or tries to house them. Freedom is an ongoing ideal toward which I strive, whether I be trying to break bad habits or loose the weight of heavy burdens. These works celebrate this sensibility of freeing the intuitive self, while still telling its under-story: the tension beneath the expression, the structure behind the play, and the bars through which I push.

Statement on Wild Things | TOT, February 2017