Because I live within the modern, industrialized framework of New Jersey (street, building, room, paper and video monitor), my visual reality is the edge of a rectangle. Therefore, I choose to push figures close to the canvas surface, enlarge their scale so they dominate the space; the background is loosely summarized as the rudiments of geometric modernity. In compositions where the figure is cropped, tension with the edge provides the modern framework. Compositions are taut and carefully calculated in relation to the canvas’ edge. The space between the figure and edge, “the void”, is a carefully constructed element of the composition.  

Oil paint used as the equivalent of flesh can mold volume and render flesh in its contrasts of texture, density and pellucidity. I use both dry and fluid lines, rapidly laying brush work on figure and ground. I pull wet paint and blur it across original contours and draw into it with a scratchboard tool. Typically I bring the head and figure to a greater degree of completion. Both the reflection of light and shadow on skin and emotion drive color. I do not use black paint; instead I mix a black equivalent using the darkest colors on my palette, or a combination of French Ultramarine Blue and Burnt Umber. Quinacridone Rose and Aureoline Yellow have almost replaced cadmiums and ochre for the mixing of flesh. With Cerulean Blue, these colors complete my preferred palette.