As a mixed media painter and a poet, my work cross-pollinates, stirred by the correspondence between these art forms. Just as words, sounds, and images rooted in emotional memory may  trigger the composition of a poem, collage elements move me to build layers and texture, to respond to textual and cultural evidence, and to indulge my interest in language, history, and ephemera, all the while engaged in a visceral construction of space. Early life in the home of an architect and a violinist clearly influenced my aesthetic. Exposure to the art of architecture encouraged my interest in spatial relationships, taught me to read elevations and visualize their 3-D intentions, and, at construction sites, to appreciate the evolution of concept to form. Music played where words ended, roused layers of emotional response, and altered the sense of place and time. Together, these ingredients fostered an affinity for abstraction and design. In The Poetics Of Space, philosopher Gaston Bachelard addresses the nature of being and perception and suggests that the house of one’s youth remains a dynamic force throughout life, for it is the original cradle of dreams and imaginative power, an instrument with which to confront the cosmos. I recognize this instinct as one of the impulses that guides my work. I listen to a ‘geometry of echoes’.  I’m attracted to the tactile quality of mixed media not only because it makes visible what the writing process hides (ie. the labor of revision maintains a palpable presence in a finished work), but also because it embodies the movement of perception and discovery. At the end of the day—or night—my paintings and poems rely on juxtaposition, metaphor, and the process of association, among other things, to express some sense of order, humanity, and emotional intent.