The freeways that dominate the post-urban American landscape captivate me. These structures embody a mixture between mysterious abstraction and mundane reality. The dynamic shapes that are made when light hits the ramps, overpasses, and elevated slabs of concrete hold a surprising union of the clearest sort of abstract vigor of bare geometric forms. In my paintings, I close in on sections of freeways to take away the peripherals, which allows the edges of the canvas to frame a void devoted to shifting planes of light and shadow.

        The cropping creates a spare and minimalist abstraction that retains only a slight reference to the landscape. The interplay among the shifting planes of light and shadow create enriching ambiguity between flat geometric forms and recognizable three-dimensional structures. This synthesis of abstraction and representation is what concerns and excites me.

       I heighten the ambiguity between abstraction and representation by using a variety of tones, hard and soft edges, application of paint, and color relationships, mainly the relationship between warm and cool hues. My paintings strive to find both the union between abstraction and representation, and the union between the mundane and the spiritual.