Making a painting for me is like solving a problem, a mathematical theorem and a zen koan. In the beginning all I have is an image, a thought, usually a figure. The figure is a character in an unwritten narrative. The painting becomes a search for a context that is true to that character and I seldom have any idea what that is. The kind of painting I’ve chosen to do is the opposite of some art that I can really appreciate, the more straight forward kind. A portrait or a sign or a mural, all of which I do on occasion, all have a finite kind of solution. It’s all about the execution and it is successful in terms of how well it was done. With my studio originated paintings, the success of it depends much more on some ineffable combination of content, colors, tone and style. It is successful to the degree that all those things come together to get me or the observer to glimpse some narrative that somehow makes sense to the unconscious.