Painting interior/exterior scenes is an exercise in translating experiences, emotions, and environments. Regardless of shifts in iconography, my work incorporates perceptions about time, memories, and quotidian objects as symbolic placeholders for people and relationships. I interpret observed scenes and incorporate invented components. Structure and pattern tend to be my preferred starting place, and throughout, I strive to remain in a state of “play,” housed in a curiosity and openness. I respond most to marks where there’s an intuitive response, a humanness, captured sensitivity, or personification, over planned or preconceived outcomes. When I become uncertain about formal solutions in a given work, I experiment with alternative materials. I have found this process deepens my ideation and pushes me toward innovation and authenticity. My recent work incorporates several layers of silk, which reinterprets and activates the trapped space between the front and back of the painting stretcher. By manipulating transparencies and opacities, I am able to incorporate the use of shadows. I’ve been called a painters’ painter over the decades, but regardless of labels, my goal is to produce work that has authenticity and originality.