Recent work consists of two connected bodies of paintings, Words and Hover, both painted with densely pigmented metallic paints on a velvety matte blue-black ground. Depending on the angle of the lighting and the position of the viewer, the words or shapes become more or less distinct, obscured or revealed by the light, and by the density of the marks that surround them. The metallic paint appears to be a shimmering scrim floating on the dark blackboard-like ground. These paintings use visual and written language to explore the weight and significance of intention in a mark, whether it be the deliberate information contained in lines that make up a word, or the figurative suggestions contained within the horizontal and vertical lines, and the circle. What are the boundaries of a written sign system; what happens and what does it mean when marks dissolve into meaninglessness or conversely coheres into significance. My relationship to the marks and the words moves between pleasure, dislike, neutrality, and nostalgia. Upon close reflection the viewer too can enter the surface and make associations that can range between the materiality and the sublime.