My work reflects a fascination with the perception of color. In Beau Lotto's words, "Perception underpins everything that we feel, think, and believe. It is the source of all artistic expression and scientific exploration. What we perceive IS who we are. To understand perception is to understand what it is to be human." There is a democratic experience of color in general that appeals to me. Color sensation offers the viewer a physical, palpable encounter that is enhanced by their history, culture, mood, and memory. We all perceive color a bit differently, but color remains one of the most potent visual elements that affect the viewer through pure visual sensation. Color is slippery and can be deceptive. As it morphs, vibrates, and dissolves in these paintings, it is a metaphor for the instability of the world around us. The work requires time for active viewing so that the eye can experience intended color interactions and spatial movements. Color relationships create space beyond the picture plane in the liminal spaces of Hans Hofmann's "push-pull," and there are ample references in this work to color theorists Albers and Chevreul, with a nod to Bridget Riley too.