Working from specific locations and landscapes, I abstract from both direct observation and memory. In investigating the dynamics of each landscape and intentionally working and reworking the surface, I seek to somehow merge this explicit physical world with the spiritual. Ethereal qualities are made evident in what for me is an almost ritualistic process of layering glazes and opaque layers of paint. I transfer my subjective and highly emotional response to nature, distilling the sometimes-fleeting atmospheric conditions on panel, canvas, or Mylar.

My work affirms the heroic aspects of landscape painting, whether that landscape is real or imagined. I continue to conjure the spirits of both post-war Abstract Expressionism and my heroes: the 19th century Romantic Landscape painters, Caspar David Friedrich, and especially J.W. M. Turner. Akin to the New York artists of the mid to late forties, I am working towards a type of “process painting” and like Rothko, I am almost maniacal about the “finishes” or surface quality.

Is it a spiritual connection, a fear of the unknown, the manifestation of a greater power or presence, a desire to know what lies beyond, or the responsibilities of instigating climate rehabilitation and preservation?

My commitment to remain present to the possibilities of material over pre-determined uniformity of surface or style is essential, yet full of historical references. I hope to reverse a certain “falseness” sometimes attributed to easel painting, moving the viewer to see beyond the physical in experiencing and accepting the undeniable transcendent power of the land, sky and water. I use the vocabulary of landscape, where horizons and directed areas of light and darkness evoke, at once, both everywhere and nowhere.