My paintings are geometric abstractions derived from the built landscape. In a reductive process, I work from memory, revising digital sketches to pare an image down until it begins to match my most fleeting impressions of its subject. My emphasis on structure and precision reflect my training in physics and my ongoing employment as an engineer. But inevitably, science falls short, and I abandon it as I pursue the irrational qualities of visual perception.

At the instant when we discover we are looking, our attention disrupts an unconscious, primitive, static mode of seeing. In the transition, we may catch a glimpse of vision without apprehension; or if not a glimpse of that vision, at least its reverberation. Painting is my attempt to work my way back, to find out without naming it what I see at that instant.