I am inspired by everything around me. Anything that I take in during my daily life can work its way into my paintings. The symbols, shapes, marks and colors I use stem from a wide array of places; a road sign frequently observed in my daily commute, or the color scheme of graffiti on the side of the highway. All the things that I take in become stored and eventually work themselves into my lexicon of available imagery, or visual vocabulary, as I start painting. The initial marks that I make in a painting start off simple, but then begin to build in complexity. Each mark/layer is a direct reaction to its predecessor. Developing a painting while being cognizant of its recent history is what I love most about the act of painting. In life, a persons past immensely affects the present, and I bring this idea into my paintings. Allowing earlier mark s to remain, and have equal or more importance with more recent marks, helps to show a paintings evolution. I also enjoy the way marks can be enhanced or diminished by combining them with certain colors, utilizing contrasts and harmonies in hue, value, and saturation. I like for my marks to have a familiar, universality to them, yet at the same time look starkly foreign. I strive for them to look as if they could exist somewhere around us, but remain unrecognizable. Allowing each painting to develop in this process oriented, evolutionary fashion, without the aid of preliminary sketches, keeps each painting fresh and vital. Using and re-using a visual vocabulary of marks and shapes that develop from this process keeps each painting relative, but evolving.