I personally developed my technique of painting in Graduate School. At that time I was working on very large canvases where I used a stained technique. I worked non-objectively on unsized canvas on the floor and created paintings before stretching them on a frame. The process included using many layers of thin watery veils of color that would bleed into the fibers of the canvas. I would sometimes incorporate at least fifty layers of pigment to build up to the intensity I wanted. As the color was modified for each application one was able to see through the various layers, thus creating a visual. The natural movement of the pigment as it traveled around the surface created unusual organic forms. These shapes were defined by the confines of the canvas size and the direction and placement of various applications of pigment. Large size was important as the forms had to have space to interact. The edges of the canvas were also important as the pigment created a lace like effect which framed each piece.
Years later I had the chance to travel to Europe and witness age. The old weather worn surfaces of buildings, stone streets, etc. were very interesting to me. I now started painting subject oriented work. The technique I used was the same as with the nonobjective pieces, however the scale was drastically changed. I used the confines of the subject now for the definition of edge. I pre-stretched the canvas and sized it in a traditional way. I continued with the layering of watry acrylic with the addition now of impasto oil paint. This contrast in the physical surface as well as diverse reflection of light gave me a dramatic display of dimension.
Today I paint using extreme abstraction with perhaps the suggestion of a horizon line, as well as subject relating to places I've been. I am an avid gardener and like to create the sense of the soil, the contrast of brilliant color against mossy, moist, natural surface. I want to create the illusion of not only seeing subject, but feeling the conditions. Recreating the layers of nature appears in the form of light as well as various surfaces. The viewer is drawn into compositions that I see, imagine, and feel. My current non-objective works also have a very primal, nature driven quality.