All my paintings start out as drawings. Sometimes, though, I wish to preserve this early yet decisive stage for its own sake, on paper. But my drawings are more than interrupted paintings. They are exercises in reduction.

I try to outline the human figure with economy, delicacy, and zest. Keeping my lines to a minimum, I try to make each one count. I vary their thickness, emotionality, as well as the pressure I apply them with. It is not the heaviest lines that carry the most weight but those that are the most suggestive of volume and character.