I paint in that sort of ‘call and response’ method that a lot of abstract painters share. It’s about making an initial mark or colour and responding to it. I’m motivated by colour and the materiality of paint, so my process involves an on going dialectic between, on the one hand, my initial and intuitive bodily response to colour and texture and, on the other hand, my more logical decisions regarding form. I’m often working on several paintings at once, so the dialectic unfolds in works in isolation and across pieces. Because of this, I often find myself reworking pieces I was certain were resolved. It’s a frustrating process. In between there’s a lot of looking and reflecting.

Painting in general. In undergraduate school I first encountered good abstract paining, which influenced my direction. At the moment I’m very inspired by late 19th and early 20th century French painting, traditional folk art, textile work and contemporary minimalist painting.

I was very fortunate to have a family supportive of the arts, so I can’t really think of a time when I considered doing anything else. I’ve always wanted to be an artist. Of course, sometimes you do what you need to in order to be able to do what you want to do. Hope that makes sense. So I also teach art as a means to support making my own.

I have a couple close friends and mentors who are talented artists. I respect their work and they have a good critical eye. I appreciate honest feedback and I usually get that from them. Critique is absolutely necessary in order to grow as an artist.

Lately, I tend to use more vibrant colours. As an artist I'm concerned with what goes into my paintings. Hopefully people see what work I’ve put in them. I'm less concerned with what feelings the viewer might come away with. I suppose that's the viewer’s concern. Mine is with the artefact as such.

In both a literal and a figurative sense. At it’s most basic, I play when I paint – it’s fun. I try to recreate colours in the studio that I’ve seen elsewhere, and I enjoy manipulating the substance and texture of paint. On a more serious level, play involves my process. I often proceed by free-play or association. I know colour theory and rules of painting, but sometimes I deviate. That’s play, too.

I have used R&F brand pigment sticks for the past six years and won’t stop any time soon!

Not consciously. Each painting becomes its own thing in the process. They may initially reference a specific subject but that tends to get lost by the time they are completed. Maybe that’s what recurs in my work. I do, however, often repeat certain colours and forms. Right now I’m using a lot of geometric forms, and lighter, higher key palettes.

My paintings used to be a lot more organic and figural in form but are now becoming more geometric and structured.

Absolutely! It is inspiring to watch a child create and, in so doing, learn about the world around him. It has helped me to look with a closer eye at otherwise mundane things around me. I’ve become more intentional with my artistic decisions. I also think its changed the way I look at my own work: my paintings are much more precious to me, now.

Keep making work despite the most difficult of circumstances. There are always roadblocks, perhaps even long periods of feeling like you’re failing. However, almost always, if you press through, something good comes out of those times. It’s absolutely crucial to keep making work. Bad and good.