These paintings have taken shape in a highly meditative, idiosyncratic way, due to working on them while in a highly intuitive state of mind. I have come to consider this series to be, in part, an antidote to the ever-increasing speed imposed upon us in almost every aspect of our lives.

The Information Age has a firm grip on many of the world's cultures, spin doctors and advertising abound, newly created products are rendered obsolete sometimes within minutes of their release to the public, and new formats for handling and transmitting information are evolving at an ever-increasing rate of speed. This human-induced race incites a sense that we only have so much time left while simultaneously teasing us into thinking we will understand just about everything throughout much of the universe in the foreseeable future.

In spite of this fast-paced affectation being thrust into our lives, the act of slowing down and steadily looking at what is to be found in stillness takes a strong footing in this body of work. Geometric, code-like compositions are my way into a preverbal investigation that often brings about a fairly balanced use of color, drawing, and painting. I also tend to exercise a certain hybridity of picture making. For exampIe, references to aerial views of the remains of indigenous architecture continue to appear here and there.

During my most productive periods in the studio time is oceanic. I never know what I am going to work on next, especially from one day to the next. This approach has been integral in exploring the enduring qualities of what remains to be mysterious and timeless.