In my work, the use of untraditional materials has always been a key element. Recently, I would begin each painting by applying cotton drop cloths to panels of wood. The porous quality and imperfections of a drop cloth is what draws me to this material. As each piece begins to evolve, cutting, patching, scraping and painting takes place. In many cases, much of the drop cloth becomes obscured but the rough quality of the material is always maintained. Over the years I have worked with spackle, concrete, house paint, and, most recently, fiberglass window screen. The type of screen that one would find in hardware stores.
I approach my paintings in an intuitive way. This instills an energy in each piece, while making objects that have a three-dimensional, architectural feel. The final statement of each piece is realized when the interplay of lines and shapes create a tension between flatness and depth. I also work intuitively when doing my wall sculptures. In the sculpture, I have been working with cardboard tubes, wood, plaster, wood filler, and latex primer. The wood that I have been using is the lath that was taken from old plaster walls. When making these wall sculptures, I try to retain the character of the old wood throughout the process. In these sculptures, I simplify each piece so depth and space is created from the interplay of shadows and light.
The visual elements of Islamic Art, museum artifacts, and the quilts of Gee’s Bend have been an ongoing influence in my work. To a varying degree, the imagery of my work combines the patchwork aspects of quilt making and the fragmentary nature of Greek and Roman museum displays with the fluid, interwoven nature of Islamic script.