MS: The line drawing in your work that bounds and determines the physical limits of the Action Painting can be visually jarring. It pulls a different experience out of the viewer. It’s as if you want to twist the painterly forms around and through the false spaces of your expressionistic technique. What are the intentions behind the outlining in your work?
GL: I see the outlining as policing the gesture. The gesture is an outlaw and the line is a cop, but the line is also another gesture. The outline is also a type of automatic drawing as well. The outline allows me to tease out spooky figuration without giving up a kind of flatness that keeps the space of the painting open to multiple reads.
— from an interview with Henri Art Magazine