I place my paintings somewhere at the cross roads of modernism 
and history painting, where I my interests are gathered and 
then translated through gesture and  form, luminosity and space. 
That is why the still lifes I construct and then observe have 
become an ongoing working method where basic subjects such as 
bread, wood, and fruit, are organized and used as random elements 
that challenge my expectations and abilities. In the process of 
observing and recording these reconstructions I look for situations 
which  Meyer Shapiro says "hold action in potential" alongside 
"the freedom of possibility." For within the artifice of the still 
life genre the natural world strongly resonates and I can make 
choices in terms of formal _expression. I work from a place where 
the act of perceiving becomes a place of contemplative engagement.