In my original abstract paintings I am  interested in working with notions of movement, time, change, abstraction and how these notions have been historicized visually. In my paintings I highlight movement, moving images and the ways in which these images interface with traditional plastic arts. Traditional, plastic are notions, ideas, that have been frozen in time and for some reason are no longer monumentally moving or changing. There are a wide range of arts and artists that are or have become plastic, that is they or their works no longer represent grandiose ideas that idealize, freeze an idea and an artist. To list but a few, the works of Michelangelo, Monet, Van Gogh, Picasso, Cindy Sherman, Joseph Beuys. To juxtapose the ideas and marks of these artists with the abstract works and marks by Twombly, Pollock and DuChamp helps the viewer of my work to visualize (read) the temporality of my works. The organizing principles of movement, time, change and abstraction are compelling ideas and very difficult to make marks for, as once the marks are made I risk the possibility of freezing these marks in time. In my abstractions I try to  side track freezing a mark in time by making marks that are very expressive and impressionistic and change with each viewers own personal interpretation of the work and the mark.  This is why I try to give just a brief hint of my journey and hopefully allow the viewer to fill in the missing blanks, to imagine and express their perspectives of the work.  I ask that the viewer no longer  look at a work passively and read a narrative that determines representations for the marks made. The mark in the my works move because they include the viewer’s personal space and time and in the process reorganize the my own personal perceptions. All works are unique and original. I work with notions of "real" and imagined in abstractions. I try to create visual notions  of "the imagined" by fragmenting the "real" object and placing the "real"  object in different impressionistic, abstract expressive perspectives. This allows the idea of the "real" to be in perpetual motion, always moving, always changing, always allowing for multiple perspectives. I call this playground "Motley Space." "Motley  Spaces" are spaces where I can have the pleasure of play with the notion of "real" and rearrange it and create  contrasts and surprises, "Motley Spaces" are imagined spaces, are  abstract spaces. "Motley Space" is inconsistent and paradoxical, my painted original expressive marks can then be considered both "real" and "imagined" at the same time.