Although these works exhibit a gestural quality similar to a lot of action-based painting techniques, the process is perhaps more a pursuit of creativity born of a much more highly structured process. 

Each stroke of the brush is a carefully choreographed path that’s used by repetition throughout the work. The artist only has the ability to determine where on the edges of the work the path could originate and at what point in the path steps the path begins. The last consideration the artist has is the quantity of paths they choose to lay down. 

With a nod to chaos theory and its use of the introduction of the smallest changes to the origin of a single paint brush path can a world of diversity be opened up on the canvas? This question is the object of building this painting process. Can one create an emotional connection with the most minimal of tools available? My answer may be different than yours and certainly I am still experimenting with the process, working to create emotional allegory with only what’s available in the process. 

After using the process off and on since 1998, I can say that I certainly believe it’s possible to extend emotion through the process. I also believe that with these constrictions the smallest of details seem to become the most valuable aspects. The most simple part of a painting, the individual brush stroke now becomes a subject in itself, as well as purely contemplating the value of just how much has become paint and what is left of the canvas becomes something primary to consider.