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Art, being a form of communication, depends upon a shared language understood by both the creator and viewer. By analogy, understanding the written word comes when we analyze the context of a given phrase or sentence. The case with painting is comparable:

"Painting has two weapons at her disposal: 1.) color 2.) form. Form can stand alone as representing an object (either real or otherwise) or as a purely abstract limit to a space or a surface. Color cannot stand alone; it cannot dispense with boundaries of some kind." — Wassily Kandinsky, from Concerning The Spiritual In Art.

We have grown accustomed to color as the driving force. Seeking a purer expression, it's no wonder that many artists have found more comfort in letting color "speak" while leaving the form to spontaneity. However, color is prone to being arbitrary, even unstable.

"Everything is at the artist's disposal, and the freedom of today has at once its dangers and its possibilities. We may be present at the conception of a new great epoch, or we may see the opportunity squandered in aimless extravagance." — Wassily Kandinsky, 1911.

Wanting simply to express, having no particular goal other than what spontaneously hits, is aimlessness.

Whether brushed, splattered, or poured, it is the painter who who gives form to color. All improvisational gestures, no matter how seemingly chaotic the end result, begin as the intention to produce a particular effect. Context, even if it is only limited to the border's edge of the painting surface, signifies forethought both of technique and those "weapons" of color and form. This knowledge, while also allowing contextual improvisation, is the foundation of a work's communicative and artistic goals.

I strive to depict a contemporary narrative unbound by an aimlessly extravagant fate — and you are invited to join in the process.