A painting is always, first and foremost, about paint. About color and movement. The image emerges from my subconscious as a result of fluid, authentic movement and a searching, highly intuitive process--looking, moving, seeing, feeling, moving again. These recent larger-scaled pieces continue the investigation of relationships between generalities and particulars, establishing super- and sub-structures of both image and narrative, subject and object on the picture plane. Highly modernist (particularly European and Latin-American) in their influences, they fuse psycho-analytic discourses on myth and meaning with early post-structural ideas on symbol-content relationships (Jung vis a vis Barthes) in the form of the painterly self-reflexivity present in canonical Modernist painting.