In this new body of work, I have begun examining the different levels of consciousness within quiet environments. I have embarked on this new direction by first creating meditative spaces and then layering multiple fields within these seemingly endless planes in order to investigate the spectrum of thought within these compositions. I am interested in the visual and conceptual dialogue and the revelations that result from the recursive layering of thoughts and feelings within these subliminal expanses.

For the past several years, I have been working with austere landscapes and with this new body of work I am now looking further, beyond abstracted horizons into the concept of these works as transcendent spaces, laden with layers of multiple meditative thoughts within fields of nothingness expressed in the open compositions of the works. I am influenced by the idea that within a simple environment or reductive landscape there are obscured ideas and complex feelings or thoughts. Furthermore, I am interested in the contrast and juxtaposition of these ideas such as the innate and unrelenting existential loneliness that is universal and felt by all, as we contemplate our collective mortality, the inevitable: that all of life is fleeting, ephemeral, and transitory.

My intention is to investigate this layered thought process, that there is a fleeting, subtly exquisite beauty within these notions. I seek harmony within these fields of thought and a visual balance and an acceptance. For example, the idea that within a desolate field there exists not only solitude, quiet, and loneliness but concurrently there is something pure, strong, a melancholic beauty. In other words, spaces whether they are barren, silent, serene or awesome in their transcendence are full of latent opportunity for renewal and reflection. In many ways, I think of my works as windows, which amplify these ethereal spaces and evanescent moments. These are images of illusive feelings and thoughts, memories, dreams and thresholds that dissolve and reappear. Some become monoliths and iconic, superimposing themselves on the surrounding fields; others are obscured, moody, and unclear.

The questions and ideas are physically manifest in the medium. The process is a result of hours of sanding, metal polishing, the use in some cases of heat from a torch; work with pigments, caustics and lacquer. This vigorous, sometimes grueling and process-laden approach is a juxtaposition and likewise a physical practice of the underlying concept of these works: a study in focus. Out of this rigorous, and physically taxing metalworking I derive at these meditative spaces. The high polish and reflective quality of the steel substrate I use as my canvases enable the viewer to be reflected back in the works and to exist within each work, becoming part of the work, able to view oneself within the work. There is a universal quality here; the mirror-like surface transcends age, race, becoming universal and all encompassing.

The works change and blend into their environments throughout the day, melding with their surroundings as a quiet presence yet not without authority. The works change throughout the day as moods and perceptions fade and evolve. They are invitations for contemplation, places for solace, fields of nothingness full with opportunity, quiet, respect and hope; they are environments for introspection.