Q: Can you walk us through your creative process, starting from how you develop an initial concept to how you decide a piece is finished? Is there a particular stage in the process you find most exciting or challenging?

A: I once read a wise commentary on composition – that it is like the plot to a story. If your composition/plot is not solid, your painting will not read well. I agree. To that end, I never start a painting until I can visualize the concept and layout. This guides the rest of the painting. It takes everything into account but not at a granular level. Ground, placement, color, texture – how much, how little, line – if I can see it, these are all there, but not in any precise or realistic way. Everything must contribute to the composition.

The most exciting time in my painting is the first appearance of the concept. The sketching in and washing in has the freshness that I strive to hang on to throughout the process. There's the challenge. So often, some time around the three quarter mark, all feels lost. I push through and will myself to make marks – right or wrong. This evolution has been the constant in my painting life, repeated thousands of times.

Q: How has your artistic style evolved since you first started painting? Are there any key experiences, personal milestones, or external influences that have shaped your approach over time?

A: For several years during my earliest art study, I focused on realistic drawing, mostly the human figure. As I began to paint, over time I learned many things about myself. I need a larger ground. I have a constant stirring inside me for looser feeling and rendering.

The key to my ability to break free came with life circumstances. Having to put active painting and drawing on the back burner and find gainful employment left me mentally painting and observing during every waking moment. When I was finally able to move to a more private location and paint without interruption, all of my mental exercises came flooding out for me to use, throw away, experiment, or keep. It was another lesson learned. Painting is as much mental as physical, maybe more.

Q: What challenges have you faced as an abstract artist, whether creatively or professionally, and what strategies have helped you overcome these obstacles to continue growing in your craft?

A: As I began to get in touch with myself and paint more authentically, I gained confidence to apply to jury calls. We all start with our share of rejection. It's the thing we know ahead of time that stalls us in the first place, but we aren't always ready for the success and acceptance that comes when least expected from diverse places and unknown people.

Successes can make us feel pigeon holed – pressured to produce more of the same. That can strangle creativity. My coping strategy has been to embrace the work that brought the success but modulate it by going back to the everyday painting on smaller scales that gives deep pleasure, satisfaction and steadily pays the bills. I also like to give myself lessons – things I've wanted to work on but pushed aside due to time constraints and deadlines.

Q: Looking to the future, what are some themes, projects, or ideas you’re eager to explore in your work? How do you see your art evolving in the coming years?

A: I've always realized that my art and my self want to come off of the canvas. Many times I have started two dimensionally, only to find myself moving about in space in unexpected ways. I fully expect to continue to discover that I'm manipulating texture and canvas in unpredictable ways.

Q: Abstract art allows for a wide range of interpretations. When creating a piece, do you have a specific message or emotion in mind, or do you leave it entirely open for viewers to draw their own connections?

A: Viewers will inevitably have their own interpretation if they're interested in my work. It's quite a high to stand and listen to someone tell what each passage of a painting represents. However, having said that, my painting couldn't be more personal. By the time my internal visualization makes its way to the sketching, washing stage on the canvas, the feeling, emotion may or may not begin to take on a life of its own. This is true to the last stroke.

Q: Your journey as an artist has been inspiring, with your unique style and bold expression. What advice would you give to emerging artists who are trying to find their voice and establish themselves in the art world?

A: Advice from other artists and curators who you trust is invaluable, but it is all important to decide for yourself who is championing you. Everyone isn't. There is a lot of competition that is not constructive. Keep your own council. Stay in touch with your process and the only way to do this is to work, work, work as much as you can. When you're ready, put yourself “out there” as much as you can. It is one the last pieces that will surprise you – you might be better that you thought.