I construct both my paintings and works on paper as a dialogue between the representational and ornamental; which party gets the last word remains a mystery until the composition is complete. I start with painted or drawn images, then literally cut them down to size with scissors before reassembling the components on painted panels or into "quilted" paper compositions that I treat with successive layers of paint, ink and polymer.

This break-'em-down-to-build-'em-up methodology is my way of capturing moments in an expanding universe. Representation is as powerful as it futile. Any tableau is illusory; even mountains are in constant flux. Particles decay, light bends, and perceptions alter with each recollection.

My technique in turn encourages the viewer to approach each work with a forensic eye: to examine the constituent parts and try to reconstruct their pedigree, then step in and take in the totality of color and form.

The layers I create fade into opacity, however firmly each is fixed in memory. Try to peel them back with your eyes, and you'll reach a new level each time.