There are multiple levels of interference in my work. The most obvious is in the line moire pattern which is a perceptual effect related to the experience of vision. Similarly there are interference effects generated through the use of color- the juxtaposition of different hues and values through the line patterns causes optical color effects to occur- simultaneous and successive contrast and assimilation, after images, and optical "flicker" which occur when different colors attempt to occupy the same space simultaneously.
Other interesting interference effects come through the hand - in the taping of the patterns - small imperfections occur where the lines waver and wobble, coming closer together or further apart. The most subtle glitches are amplified the most, through the nature of the moire pattern. Thus, the imperfection of the hand is isolated and accentuated, much as a tv test pattern would highlight the crosstalk of different signals, presenting them as "snow," in order that the problem might be diagnosed.
The paint texture, marks and subtle variations in color, and bleeds/drips/rips of paint similarly create their own interference, breaking the illusion of depth and space within the pattern, and bringing the eye back to the surface of the paint, the "skin" covering the flat canvas in front of us. This, along with the size of the works and the gesture and movement within the lines, references the body.
The paintings use complex rules and systems of line, color, edge and pattern to create perceptual abstractions with scintillating color that evoke hyper-perceptual states. However, they simultaneously break many of the rules they set forth, and through this noise and interference they become something different. They are organic and human, evolve out of process as much as idea, and create tension between the analytical and the intuitive, the controlled and the spontaneous. The viewer is simultaneously seduced and repelled by the works, drawn in by the color, line, and pattern, but held off by the tension created by the interference. Only through negotiating their relationship with the works can the viewer enter into the logic of the paintings, and begin to understand the relationship of the formal language to the multiple layers of meaning and experience.