Ink, with its unparalleled fluidity, staining intensity, and transparency, has become an essential feature of my practice. The transparency of the ink allows much of the history of execution to be readily visible. As a result, layers switch back and forth in time, creating several possible readings. Simple motifs and events transform throughout repeated layers, becoming a part of later forms. The absence of sizing allows one to paint on one side of the paper to the benefit of the other; viable imagery may appear on both sides. Using both gesture and organically arising stain forms, the painting becomes an alternate world of suggestive forms and spaces. These painterly events mirror patterns from nature—atmospheric, kinesthetic, tactile, and tectonic.