I paint pictures of the real world; often they are unfocused, blurred, or the wrong colors — as though they are seen for only a fraction of a second, or taken from memory.
The connections between various images are not chronological or narrative, they express understanding and connections which are strictly visual and non verbal.
The quantum physics of light, speed and form are important contributing factors affecting my work.
I try to achieve compositions intended to be irrational which results in the painting being "read" in any direction, establishing new correlations between dissimilar components.
I start at the top and work down. That gets into call and response. One color calls forth another. Color dictates the structure, not the other way around. I wanted something very simple that would allow the color to have a life.
The palette just comes. I follow my work wherever it goes — out the door, around the corner. I gotta follow the work. It's high key now because I'm focusing on intensity. It's kind of a heavy beat — it comes from the West African drumbeat. Music in the African-American community is what saves people. I grew up and music was everything. That's a big part of my painting.
"In Conversation" with John Yau, The Brooklyn Rail