Making art is the best fit for how my brain works; though I wonder how much of my brain function is informed by making art. My work suggests natural phenomena – clouds, landscapes – while limning the intersection between carefree childhood wonder and childhood fears. I use mostly ‘Spring’ colors (pink, green, yellow) to capture that innocence, with earth-tones and raging marks as balance. My work blurs intent and happenstance: setting out under rigorous constraints including a limited palette and compositional motifs to let the marks do what they will when they are unattended. The joint compound I paint on dries, settles, and cracks. Colors run, absorb, fade, or coalesce. Subsequent marks respond to and wrangle with changes on which I bet but can only nominally control. The painting paints itself while I shepherd it, hoping it grows into something upon which it, and I, can agree. The work imparts calm through insistence on an acceptance of our lack of control over life.