I let the image, and the shape and surface of the wood, inform one another in a more organic manner than I do with my shaped paintings.

I may begin with a scribble, or the bare bones of a recognizable space, and then let that dictate which parts of the board should be sacrificed to the band saw.

The half-formed image on the newly-shaped surface cannot help but change in response.

Pencils, charcoal erasers, sanders, drill bits, a wood burning stylus, and landscape imagery all contribute to a more flexible back-and-forth conversation between shaped wood and image, flat surface and illusionistic light and space.

What emerges from that conversation is a unity between image and support that is free of the rigid dictates of a rectangular format.