The echoes of childhood define who we are. We live in memory. — Benjamin Bush, Dust to Dust

My abstract paintings are founded in early memory, creating an emotional space that pervades my everyday life. This emotional space is what I paint. When I paint, I mix thinned acrylics to a pourable consistency, allowing an even flow over panel. I work slowly, building strata of paint in even, smooth layers, evolving mutable patterns. In this way, I record time spent, an accumulation of memory and of returning again and again to the activity of paint on panel. Color is the expressive component of my work, informed by dreams, memory, and theory. The interaction of purple, brown, green and yellow, for example comes directly from a dream, in which a visitor to my studio points to four colors on my palette and states, “These are your colors. This is what you must do.” I know immediately that these colors represent my immigrant grandparents, influential in my formative years, and essential to my present. While I play with systems of pattern and color, challenging what I know, I revisit these seminal colors during times of change.

In Letters to a Young Poet, Rilke describes this phenomenon:

And yet they, who passed away long ago, still exist in us, as predisposition, as burden upon our fate, as murmuring blood, and as gesture that rises up from the depths of time.

Such change recently occurred in the wake of my mother’s death and the clearing of my childhood home. What has emerged is a new form which pays homage to the life of trees, and how they bear witness to our own existence. My research tells me that we share 25% of our DNA with trees. As I pass them on my daily walks, they speak to me of regeneration. I respond with new paintings.

Work creates its own time. — Ad Reinhardt