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Using two different modes of abstract imaging, i.e. a hard-edge grid akin to computer pixels and op-art, and a fluid gestural expressionism, I try to create situations that are visually and conceptually ambiguous. The grid refers to the act of mental compartmentalization, i.e. identifying / naming, locating / mapping etc., as part of our attempt to organize and comprehend our experiences.

It is superimposed onto the ground which consists of fluid strokes (gestures), creating a psychological (land-) scape or backdrop. In the finished painting, the grid and ground exist simultaneously and, like two versions of a single experience, they interact and expand upon the other. By partially concealing it, the superimposed grid undermines the visual integrity of the illusionary space of the ground while simultaneously enhancing it and utilizing it as a sort of springboard for its own (visually and conceptually ambiguous) presence. Thus the relationship between the grid and ground is not additive but rather circular or interactive. Through the �transparency� of the grid, the two (theoretically mutually exclusive) modes of abstract imaging can coexist and remain visually coherent, that is, because the grid is �open� or �see-through�, the painting remains a �total� picture as opposed to being a collage.

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IMAGE DESCRIPTION ; 1. Untitled (OBQ#1), oil & acrylic on panel, 18 x 24 in., 2003. - 2. Untitled (OBR#57), oil & acrylic on panel, 18 x 24 in., 2003. - 3. Untitled (OBR#55), oil & acrylic on panel, 18 x 24 in., 2003. - 4. Untitled (OBQ#3), oil & acrylic on panel, 18 x 24 in., 2003. - 5. Untitled (OBQ#4), oil & acrylic on panel, 18 x 24 in., 2003. - 6. Untitled (OBR#47), oil & acrylic on panel, 18 x 24 in., 2003.