I'm constantly negotiating between working with painting and working with sculpture. This negotiation later becomes a multi-layered conversation with myself as I'm deeply attracted to both abstraction and figuration. I’m visually attentive to the loose merging and layering of colors in painting related to a hazy or soft-focus appearance. In contrast, I’m also consciously rendering recognizable forms including the portrait and human figure. I mostly employ oil paint on rigid-supported dry gesso, which yields a smooth, absorbent, and luminous surface. The application of paint and pigments to the surface is of great importance to me whether through a delicate veiling process, variations in saturation, tone and hue, or through thick, resolute layers. As with painting, my language in sculpture comes in both figurative and referential abstraction forms. I use porcelain and stoneware to survey different technical approaches.