My work reflects my eclectic interests, both in choice of subjects and in the way I represent these subjects. My influences are landscapes I’ve visited, photographs I’ve taken, books I’ve read, images from television, and often whatever happens to be in front of me when I take up a brush or pen.

I’m consistently drawn to certain forms and shapes: confused tangles, obstructions that block a wider field of vision, pyramidal shapes, and intersections of diagonals. I'm fascinated by decimated terrains, vegetation with complex leaves and roots, and objects, both natural and man-made, that seem to have an anthropomorphic presence.

Both my painting/drawing/collage work and my photography are important to me, but I experience them very differently. Photography is a means of quickly capturing a tiny slice of time, freezing it for later inspection to remind me of fleeting experiences that I want to keep in with me – a moment of surprise, mystery, order, chaos, beauty, or awe. On the other hand, paintings and drawings are slow and incorporate hundreds or thousands of separate moments of experience that involve not just observation of the subject but complex interaction with the materials and dialogue with the work itself as it unfolds.

I paint intuitively. My creative process involves not knowing ahead of time where a painting or drawing will go, and I always hope to surprise myself. So starting a new work feels exciting but also risky. I put first marks on the canvas or paper, then try to perceive what “it next wants.” Each new mark changes the entire work, there are gains and losses. Many days I find myself surrounded by unresolved works, and it’s difficult to trust the process. But on other days I’m suddenly “in the zone” and full of exhilaration as the work seems to just be coming through me, my hand knows what the painting wants, leaving my head a few steps behind. These are the days I live for.