Painting is the theater of line, color and form. My canvas is a screen of abstractions. I see drama in my shapes—emotions in my colors. The forms move...and represent movement...dramatically.
As a producer and screenwriter, I utilized narrative structure, visual medium in motion and language in dialogue. In abstract painting, I discovered a similar, but wholly optical language: the challenge of expression through static, visual means.
My approach to painting is not unlike the way I write a script. The first half of the process is spontaneous: free-flowing and fun. As my thought process goes deeper, I experience what the characters are experiencing. I create their mindsets and settings, their actions and reactions, by transcribing the dialogue and actions of the characters into visualized scenes.
With painting, the first part of the process involves freely painting colors and the forms the colors suggest. Inspired by my experience and subconscious, I innately know and paint where the pieces are to exist, to move and to flow. The second half of the process is more mental and editorial. It’s about discovering structure and seeing the piece or “the story” as a whole of the parts. Choices must be definite—and sometimes severe; eliminating the extraneous towards defining the energy draws to potential conclusions.
Each painting is a visual poem: the essence of a moment: energy, rhythm, space, hue and tone. The viewer is invited to join the movement. The most difficult thing for me is the biggest decision: when is a painting finished? Jackson Pollock was asked this question, and he replied, “How do you know you’re finished making love?” This has become my guide. I “see” harmony. I can “hear” space. The forms, colors and movement speak to me: “Fini”.