Painting for me had remained primarily a hobby for several years. My major while attending community college was Psychology. I found Freud to be very intriguing, specifically his studies of the subconscious through psychoanalysis. In turn I began my own psychoanalysis through meditation and studied Chinese philosophy and Zen art. I did so in search of a connection between the subconscious and the expressive self. Through these studies I grew very fond of the concept of Zen Mastery, something Van Gogh became aware of through his Japonism studies. During my time at Saginaw Valley I attempted to recreate a crocheted work from my youth, on a grand scale. I formulated the color arrangements by painting maquettes of straight, overlapping lines in a grid formation. Through the simple act of painting a repeating line it was only natural to incorporate a meditative frame of perception as an aid in maintaining precise control while completing the monotonous task. Some people have perceived the process as an obsessive compulsive act but for me it’s not unlike the observation of breath as a focal point during meditation. It wasn’t long after the creation of several of these maquettes that the formal qualities of the paintings became apparent. I began to develop the works in the framework of formal abstraction, following the developments of Frank Stella and his Black series. Studying the logic behind his developments I made the transition of thought from the emulation of primitive weaving, to the formal act of repeating the edges of the canvas. This then allowed me to develop the technique logically. At this stage I felt as though the paintings were in tune with conceptual work of Sol LeWitt in the sense that everything was premeditated and the act of painting was simply carrying out the idea. Painted entirely by hand, the subtle variations of line create a delicate movement throughout the image. There is no shape variable in the work so the overlap is equalized in the sense that the spatial identity of each layer can be controlled through value and hue. This allows me to create the illusion of woven fabric with fewer layers than before by optically pulling the bottom layers forward and pushing the top layers back. This creates that ever so desired spatial ambiguity and duality of abstract painting. Once the optical weave is in effect the flatness of the work becomes very prominent. The subtle nuances of inconsistencies then interact, creating implied elevations and recession within the shallow space. When viewing the work from a distance the image takes on the role of an impressionists color field in the sense that the layers of color merge together creating a single implied color. Through eliminating the spatial interactions of shape and value, I have been hypothesizing the notion that color alone has spatial identity. It’s common knowledge among artists that warm colors come forward optically and cool colors recede. I am currently in the process of theorizing the spatial identity of different hues relative to each other in pursuit of formulating a rudimentary color theory regarding this concept.