For me the act of painting is the act of signing, affixing my signature upon the surface of the work. The object that remains is a document of the event of its own creation; the painting is both sign and seal. As documents the paintings can be seen in relation to language and text, functioning variously as written correspondence, confession, contract and testament. These works incorporate imperfect wood surfaces replete with knots, stains and furrows. The gnarly surfaces give rise to archipelagos of white that serve as fields for the painted statements.