In some of my more recent work, I've been employing basic shapes -- usually rectangular, both singly and in clusters. As these shapes become spatially fixed on the canvas, I proceed to "undo" the whole concept by activating the background with a sort of nervous brush stroke activity that strikes up against the original shapes. This results in a degree of varying tensions and spatial ambiguity that I accept and actually value. At times, a shimmering, lyrical quality can be result of that ambiguity.

The fast drying acrylic medium allows me to work in a freer, more sustained manner. I'm better able to add, eliminate, reject and ideally, to refine the painting, guided by judgments that can find immediate application, intuition, a sense of scale, and "feels right" all play a big part, and the very experience of painting becomes its own reward.