I approach my paintings backwards, meaning my compositions are often built in such a way that what appears to have been added last is often in fact the first layer. They typically begin impulsively, embracing the element of chance, with watery stains and drips. Later, I respond to the initial layer with strategic moves, often with meticulously rendered geometric gradients. In other works, looping gestural line work switches from positive to negative and back, revealing itself to be graphic. What appear to be thin multicolored graphic lines turn out to be silhouettes of gestural marks that were meticulously covered over, save for the edges. I ask the viewer to piece together the puzzle of my paintings and, in doing so, reassess how they perceive the world of images around us.