Last fall I painted 50 paintings in 50 days, and made a powerful discovery: the lifelong connection of my work to the scream that wanted to be screamed -- the silent scream.

Since childhood I have drawn both representationally and metaphorically, ways of seeing that came together especially in my 50 paintings of neighbors and other associates in my new community. In this series, rapid wet-on-wet paintings of people I was just beginning to reach out to, the drips are a visible wave of sound -- silent sound. This is directly tied to the medium, Benjamin Moore latex house paints. The unscreamed scream finds physical properties in the downward-rushing paint, but is not limited to the paint. It appears in the subject, the form, and the human condition.

The scream seems hallowed, sacred somehow and violent, excessively so. Even though my subjects are cheerful, peaceable people -- as I am; the scream is cloaked by society and everyday life. In my new work, I am exploring how the scream travels through and over water, where gesture and presence may be refracted, expressed in both particle and wave. The denser atmosphere of water allows me to create a visual manifestation of the aural.