My paintings are a combination of landscape and still-life, three dimensional looking places of dramatically charged form and color, drawing from biomorphic, naturalistic and landscape sources for inspiration. There is often a crisp architectural quality in the subjects and in the total composition. I create “environments” where aesthetic impulses that represent my deepest feelings and ideas converge to form a compelling, memorable landscape that, although wrought of my personal subjective visual language, manage to transfer their basic meaning upon the minds of others remarkably intact. There is no narrative or editorial; only a complex design of object/landscape, manufactured/organic, recruited and ordered with
intimate care in an atmosphere-rich picture plane. All of these tools I use to convey my haunted fascination with passage of time, psychological/spatial relativity, sensuality, natural process/decay, unending childhood zeal and a range of complex emotions.
These visions of intertwined landscapes and objects mesmerize with a playful distortion of scale by combining tiny, up-close objects with middle-ground and distant scenery. These images are composed largely from memory, luminous and dreamlike, in a way that is at once abstract and sculpturally realistic. The viewer often sees the abstract goal of the image before visually stepping into the spatial landscape.
The paintings start as loose sketches from an idea and are carefully composed into a final working study in mixed media. Then the actual painting is built up in layers of paint and glaze, most stages of the painting requiring intense blending and detail using very small brushes. The careful research and composition, sculptural realism, luminous chromatic shift and unity of the image’s powerful sense of realm, coupled with working in large part from an internal vision and schematic memory, are why major works take anywhere from one to two months, occcasionally three months to complete.