Painting is a process for me. Seldom do I have a fixed idea of where I want a painting to go; consequently, I allow my paintings to guide me rather than me guiding them. One of the most useful tools I incorporate into my paintings, and something that was used by traditional masters, is the burnt umber underpainting. This underpainting allows me to put a loose composition down while also developing my light, medium, and dark values for the painting; moreover, I sometimes let it seep through the oil paint to add warmth and to create a freshness to the piece. Oil paint is my medium of choice because it has a sensuality and malleability which other mediums do not seem to give me, and oil paint allows me to build layer upon layer, creating a luminescent feel to my work.

I feel a strong intimacy with nature and landscapes without the human element, and I draw my inspiration from emotions, spontaneity, color theory, and most importantly, my imagination. Even though the words most often used by viewers to describe my work are calm, peaceful, and semi-abstract, one word that has really stayed with me was “electric.” I seem to have a push/pull relationship with the abstract as I create my work, which keeps me challenged. I have been inspired by viewing and studying contemporary artists Barry Mastellar and Lloyd Blakely, as well as 19th century painter George Inness.