Glowing sunsets, threatening storms, or billowing cumulus clouds; the vastness of the ocean; the mystery and promise of roads disappearing into the distance; ancient trees; and patterns in nature...these are the things I’m drawn to...that fuel my need to paint. I try to capture not only what is seen, but what is not seen: atmosphere, mood, stillness, the smallness of man. To accomplish this, I eliminate excessive details, simplifying compositions. 

My paintings start with photography and then move further away from the photo as the painting progresses. Taking one idea or subject, studying it, and looking for numerous approaches, has led to multiple versions of an idea and opens the door to possibilities that keep painting exciting and challenging. When creating a painting, I start with a concept, composition, and design plan, but stay open to exploring technique and color. I let my intuition and the painting lead me. I love playing with color, using it to create mood, and varying it from one painting to the next instead of using the same palette in every work. 

Over the years, I progressed from watercolor to pastel, and then tried fluid acrylics. I was hooked. Fluid acrylics, which are the consistency of heavy cream, are vivid in color and have endless possibilities. With these acrylics I can use both watercolor and oil techniques, sometimes using thin washes, other times glazing or creating texture, and framing without glass.

My favorite part of the painting is the beginning, working loosely with large brushes. A 4” brush is quickly becoming one of my favorites as I move into larger works. As a painting progresses, I move to smaller brushes. I sometimes use a 1/4” brush for hundreds of little strokes to fill large areas. I strive for paintings that will capture your eye from a distance with color, composition, or value and then draw you closer to reveal the nuances created by painting layer over layer, or varying technique within the painting. 

My gauge for a finished painting is what feels right. I’ve learned that what I think is a finished painting needs to be set aside for a few days or even weeks. I then reevaluate with a fresh eye. I’ve also learned that what feels right will change as I continue to paint daily and grow as an artist.

Working with the highest quality archival materials is important to me. Each painting is finished with multiple translucent layers that have excellent flexibility, water, and UV resistance for future protection.