The studio is a place of experimentation and execution. I am always looking for the medium and technique that best captures a feeling, and then I see if I can take that approach into making a new series of works. When I discover a technique, whether its layering and scraping, or incorporating a specific material into a sculpture, I will work to keep that process in place, while at the same time allowing each piece in the series to unfold with its own unique flavor. Eventually, what I have wanted to say has been said through the work. Sometimes this process takes a matter of weeks, sometimes it takes several months. If I have a deadline approaching, I notice myself spending more and more time in the studio trying to get every related work of art completed before a show. This work frenzy is mostly due to my anticipation of a brief but natural break coming after all of the intense studio time has ended and before I start the process again of first listening, and then making an interpretation of the major themes which surface.
In the in-between space, when I have finished a series and before I make the works public, I will spend time evaluating the paintings individually and as a series. The final judgement process is simply determined by whether or not I like the work. If a painting doesn't make the cut, there is always a reason. I will often set that painting aside in my studio and allow it to speak to me over time, in case there is some emerging technique therein that might offer me insight into the next series. This is particularly true towards the end of a long series, when the work begins to wander in a new direction. Normally this is a signal to slow down and take care of more administrative matters, like framing and photographing a series for a show. All the while I am keeping one eye on my own creative flow to determine how urgently I feel I must return to art making and catch the new wave of creativity.