Artist Statement -

Painting, for me, is a process of circling back—to a place, a moment, a feeling. It begins with the rhythms and colors that make a place unique. The seasons, time of day, shifting tides, weather, the force of a stream or river—how did those boulders come to rest where they are? Some forces are ancient, like rock sculpted by the river. Others are sudden and fleeting, like wind across water or a cloud casting momentary shadow. Add color to this mix, and the possibilities become endless.

I’m fascinated by how we perceive light and color—the magnetic spectrum, the shifting tones in nature, and the visual magic of simultaneous color contrast. Painting is a problem-solving adventure, one that engages both intellect and emotion.

“Circling back” also describes my creative process. I begin with on-location studies: small watercolors, quick oils painted on gessoed tin flashing, or tiny compositions sketched digitally using the Freeform app on my iPhone. These are the sparks. Larger works evolve back in my studio—either in an old greenhouse or a converted garage. Each piece, large or small, finds its own path to completion, however long that may take.

Poetry is often part of this process. I favor the seventeen-syllable haiku—simple, concise, yet emotionally resonant. The act of writing, reading aloud, and reflecting on a few carefully chosen words helps me tune into the emotional layers of a painting. Over days or weeks, a dialogue unfolds between poem and image.

I also enjoy making the frames. Most are floater frames built from pine, stained with a homemade mix of vinegar and steel wool that reacts with the wood’s tannins, then sealed with lacquer. Framing is the final act of care—completing the journey of each painting.