The viewer will immediately notice two distinct elements of these paintings. The simplicity of precise painted shapes arranged in a symmetrical, balanced and orderly manner and a strategic amount of intentional negative space.

The painted geometric shapes are deliberately sized and positioned on the canvas after a considerable amount of thought and time spent in experimentation and restraint. The amount and placement of negative space is also carefully and deliberately proportioned for its interplay with the painted spaces, often creating important shapes in their own right. The two spaces, painted and negative, become inseparable components of the overall design.

The negative space in these paintings is also designed to provide a pathway. For the viewer to freely explore the spaces and reflect on his or her own emotions and experiences; opening the opportunity to contemplate and engage with the painting on a deeper level. The intention is to keep influences at a minimum in order to allow the viewer to intuitively experience personal meaning through his or her own imagination without distraction.

These paintings examine planarity as a foundational condition of geometric abstraction, offering structure, balance, proportion and visual order. John McLaughlin and his disciplined restraint has been a significant influence, with inspiration from Piet Mondrian, Ellsworth Kelly and Steven Aalders. These painters have helped shape the belief that simplicity, when disciplined, can generate profound complexity. Each of these paintings integrates color, form and interval into carefully calibrated relationships that provide a quiet sustained tension that invites slow and attentive viewing.