We All Have Something to Do marks the first body of work where I recognized a direction my automatic drawing
technique was leading me, and where I consciously decided to follow. At the time, I noticed that many of the images I
made since my grandmother's death in 2001 had been unconsciously set in or around her old house on the south
shore of Massachusetts. Her absence created a great insecurity for our family, which had been bound to the house for
four generations. The subsequent images tended to incorporate the tools of my carpentry trade, and reflected the
precarious divide between emotional maintenance and deterioration in the wake of a major family change.
Major grants in 2004 and 2005 sustained the completion of this body of work, which was comprised of a continuation
of large color paintings on canvas, and a line of smaller monochromatic paintings on panels.