Paying Attention to the Edges

One of the things I think about a lot while painting is the role of edges. Not just the edges of the canvas, but the edges between colors, shapes, and gestures.

Some edges feel decisive — a clean shift where one form clearly gives way to another. Others stay softer and more ambiguous, allowing colors to blend and overlap. That tension between clarity and uncertainty often becomes the structure of the painting.

Early in the process I tend to work quickly, building up layers of marks without worrying too much about precision. It’s a way of letting the painting gather energy. Later on, I start paying closer attention to how different areas interact. Sometimes that means sharpening an edge so a shape can stand on its own. Other times it means softening something that feels too rigid.

A painting can change dramatically just by adjusting these relationships. A small shift in color or gesture can suddenly create space where there wasn’t any before.

Photography has influenced the way I think about this as well. When I’m out walking with a camera, I’m often drawn to small transitions in the landscape — the place where shadow meets light, or where two textures collide. Those moments of contrast and transition find their way back into the studio.

Over time, the painting becomes less about individual marks and more about the balance between them.