There is always a struggle to develope a personal language.

The conflicts of expression and self-definition in language become perceptible in my new body of work.

I am Interested in the transformative physicality in mushy and floppy substances in things, which often translte as grotesque and visceral. There are emperfections in the fatty tissues in raw meat, my sister's corned toes, and within bumps in a nipple that whole. I feel sympathy towards them. I find them attrractive and repulsive, erotic and vulnerable.

My obsession in defining the malleability is driven from observing and examining my own body. What confronts my every morning is my desire to define the edge of the wall. Because of my bad vision. I am constantly engagedin the process of refining vagueness into more focused and distinguishable forms. The gooeyness of paint has the power to simultaneously articulate the tactile quality of flesh and the vagueness of my vision. My painting is at once sensual and cool, realistic and abstracted, disguising and revealing, distant and intimate. The process of intimacy and distancing puts my painting into a place where it beocomes neither about paiting nor about the body, but the dialogue between them.