My work tends to fall into two genres - landscape and still life.
The landscapes, or more accurately, skyscapes, are shaped by my memories of upstate New York. Within those works, I’ve incorporated both direct observation and interpretive elements.
On another level, my skyscapes deal with the intangibilities associated with perception. What is it that’s retained by our selective memories? How does the temperament of a landscape or an object become so entrenched in our minds that we seem to understand its very essence in some elemental center of our being? The interaction of three influences—intuition, experience, and memory—helps to position our perceived reality within a structure greater than ourselves. When I’m painting, these influences coalesce and then emerge—principally in the quality of light found within my painting’s space. That light, in turn, elicits an emotional response from the viewer. The images question the notion of an archetypal landscape while implicitly acknowledging the presence of the Divine.
Intimate still life objects in my drawings project a concern for order and quietude. Their placement emphasizes a sense of dignity and monumental existence in a suspended time—a time transcending the particularity of object or place. Ultimately, relationships between the content and the formal elements reconstruct a diffuse tranquility of a vision lost, hence establishing a sense of solace and a spirit of healing so needed in the disquieting times in which we live.