I see my studio as a laboratory—every day I perform tests and experiments with a different, nontraditional method of painting. My drive to create physical, tactile works of art stems from my anxiety which constantly urges me to keep my hands busy. I developed my process to ease this anxiety by methodically painting with several layers and lines of color. The base layer is a single large stroke or wash of color, and every layer after responds to the previous one, I puzzle them together and piece by piece the painting emerges. This physical repetition allows for my thoughts to flow freely and my ideas to come together; there is a brief moment of relief when I know that a painting is finished. The basis of my process is taking lines and forms that I see naturally occurring and translating them through my unique, intrinsic, repetitive language. The fluidity of materials such as light, color, and water—and how they take on a momentary, definite form—is the greatest influences in my work.