Deliberate obliteration, simplification, scraping away details to reveal an impression. A moment in time in a specific place stays with me, and becomes the kernel of an idea. A remembered landscape held in my heart and mind. 

Edward Hopper once said that what he wanted to do was to paint sunlight on the side of a house. In a similar spirit, I am drawn to architecture in the landscape. Angles emerging, obscured, merging with nature. The delicious tension where land, sea, sky meet. Horizon lines.

Andrew Wyeth talked about his struggle “to preserve that abstract flash like something you caught out of the corner of your eye” and on numerous occasions called himself an abstract artist. This speaks to my approach … and struggle.

Floral still life painting has been a constant practice for me while in the studio: they are interior landscapes, small portraits, a meditation. I frequently move from one painting to another, from one genre to another. Small touches, glancing flicks of paint, scraping away details in the hopes that what remains, provides a personal interrupted realism.