The major body of my work is simple straightforward abstract compositions that reflect my love of painting, the vibrant colors, and belief in the creative process. I absorbed the lessons and philosophy on abstraction and the creative process from Mark Rothko, Robert Motherwell, Jackson Pollock, and other abstract expressionists who rejected subject matter in favor of the quicker emotional truth of pure color and gesture. It is from this base that my abstract style began to take form, showing the spontaneity, and the pursuit of esthetic anarchy that were at the heart of the abstract expressionist movement.

I try to search for deeper meanings behind social and psychological phenomenon. I explore beyond the illusions of reality and the immediate surface of the canvas to reach subconscious mind images for an alternative truth, which is revealed to me through the creative process. I believe in letting the immediate dynamics of the creative process itself define my art. Like those who come to view my work, I am also the witness and interpreter. For me, the selection of colors, and the process of painting is a subconscious action, in which I am just an observer, and secondarily a participant of the work. In most cases, I do not think about what I want to put on the canvas. Neither do I think about the colors that my brush will select from the palette that I hold in my hand. Colors, because they have a temperature of their own, can guide the eye of the artist into the wisdom of his or her own soul.

Stephen Mitchell's book on the philosophy of Lao-tzu, Tao Te Ching, most clearly describes the creative process as it works through me. When I lose my trust in this process and become too analytical or judgmental, my work suffers, so I have to let go of these controlling factors, and let the painting paint itself. Lao-tzu's teachings included the use of "wei wu wei", literally "doing, not-doing". Mitchell describes this in the following way:

"A good artist [writer, athlete...] can enter a state of body awareness in which the right stroke at the right movement happens by itself, effortless, without any interference of the conscious will. This is a paradigm for non-action, the purest and most effective form of action in which 'the painting paints itself.'"

"Less and less do you need to force things, Until finally you arrive at non-action.
When nothing is done, nothing is left undone."