Painting is my method to impose order over otherwise senseless and mysterious experience. When I'm in the studio, painting and not thinking, formlessness takes shape. I am taking the raw material of observation, and by way of process, learning the nature of perception and observation. I use planes of color, arrangements of squares, lines and curves to organize the forms in space. This provides an armature for organizing color, as well as referencing the structure of landscape. Color reflects a system deep in the design of the universe, while landscape is elemental and earthbound. Though different devices for understanding space, they each dissolve the boundary between the external world and internal experience. Landscape challenges my physical relationship to scale and time, too big to know. Painting familiarizes that space. I utilize color as a language, engaging it to explore color's capacity to define the physical world. In painting, I am looking for systems to interpret observation, to meditate on the substance of experience, and glean what might exist in the margins of perception.