For recent paintings, I make digital sketches extracted from my photographic sources, then draw and redraw the simplified shapes on mylar to create hand-cut stencils. Over time, I’ve amassed an expanding library of abstracted botanical forms.

I use the stencils in various combinations to build layers of marks and glazes that result in unique patterns of biomorphic shapes. The stencils have become the artifacts of my process as layers of paint accumulate on the mylar surface. When not in use, the stencils are clipped to my studio wall (or fall in a heap on the floor). Occasionally, I gather them into ephemeral assemblages and photograph the results. Then I clip them back to the wall. These images offer a storyboard of my responses during the Covid pandemic, as I navigate the concerns and revelations of tumultuous times.