My primary interest in painting is color relationships, light, and the joyful activity of painting itself.  It is this focus that is leading me to a more painterly approach based on the simple beauty of the (extra)ordinary moment:  vivid light on buildings; shadows draped on curvy roads, the simple beauty of color on foliage or intricate working harbors.

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My primary interest in painting is color relationships, light, and the joyful activity of painting itself.  It is this focus that is leading me to a more painterly approach based on the simple beauty of the (extra)ordinary moment:  vivid light on buildings; shadows draped on curvy roads, the simple beauty of color on foliage or intricate working harbors.  This process usually produces a fruit of far beyond the initial seed of an idea with the added benefit of appreciation.  In other words, I'm trying to be more natural with the process and let go of the act of creating as well as the result.  This is often quite difficult to do, because we want to manipulate our world to make us happy and avoid displeasing things.  I am trying to go beyond "painting what I know," like Fairfield Porter before me, to paint 'what I don't know.'  It's a tricky business not knowing where you'll end up, but far more rewarding.

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