![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeLzcNd9Vto4QZPc-Kp6U1W-qNvnKv9X0hVYiBOu09e0JjbLu9keOA2cveQwFLhMSnhzLL1AbfyRLOWeKXzBu45A8dzzAzEweCdEKqsrEYarDit-SyT4Kv1z_4WyC_Lyl3zYz3Bw/s400/Clloud.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0SH3w90nnDZL1ow5pmuwFrz7zQ8FxqOxyEaT9tIbikTMOcnM1W94a8TfpEOmXttw3r-L2ttMOZt7m9erXo890HCREN6uYqQMnjRI4dwHd_LIFGQSqeL9idojYwY9Rt8bZvanDQ/s400/Spores.jpg)
I've been in the studio non-stop preparing for a two-person exhibition with Ming Fay at Lesley Heller, 16 E 77th St., which opens June 12.
I've been working on two large paintings and six small paintings, heading deeper into a realm where forms coalesce then break apart. Pure abstraction is tempting but in some ways I am more challenged by the way paint can create a form without actually representing one.