In the abstracted, internalized landscapes of my work, each painting helps to record the experience or sense of place and traces my passage through it. My observations of a constantly changing environment are referenced in the forms and nuances of light, a balancing of disorder with order through the complexity of pattern and mark making, drawing and manipulating paint on the surface of the works make up the structure in my canvases. In the act of painting, the surface of the canvas becomes a constant progression of making marks and then painting over them, varying thicknesses of paint and the varying size of brush strokes contributes to the textured surface. The paintings reveal a tension between the depth of the broader volumes of color and the flattened surface quality of the symbols, ultimately creating abstracted cartographic vistas imprinted with hieroglyphic-like legends. There is a sense of breathing room, or periods of silence that exist in contrast to the more concentrated expressionistic elements of the paintings, in which the frenzied gestural stroke balances the relatively ordered neutral of the canvas. I am aware of a sense of my own physicality within the space of time, seeing and memory. My hand becomes one with the mind, an automatic writing of images occurs manipulating paint onto the canvas. My finished works are an amalgamation of memories of shifting landscapes, urban mixed up with rural, a physical balance between the harmony and chaos, all melding together into a complex tapestry of images. My paintings are not specific to a place or time but are visceral responses to my immediate and memorized environments.