I am a landscape painter because it's what I love, but also because of the freedom it allows me. My paintings begin out of a tangible energy created by being out in the landscape. Being out in the landscape, seeing and feeling the environment is where I get my ideas and energy. Painting then becomes a transfer of energy from nature to the canvas, and in the end, if a painting is successful it creates a similar energy in me as the spot that inspired it.
My paintings almost always start with an actual location, but as a painting progresses the location becomes less important. My paintings are not intended to be representational, nor are they impressionist. The landscape provides a jumping off point from which I create work that is most aligned with abstract expressionism.
My work resides in the middle ground between abstraction and representation, and if there is any tension in the work it comes from that, the balance between too much and too little information.
My primary influences are the Abstract Expressionists–mainly Joan Mitchell, Franz Kline, Phillip Guston, and Richard Diebenkorn.
Wolf Kahn and Carl Blair are most closely related to the work I do and the guys I look to when I get stuck. Winslow Homer and George Inness keep me from getting too abstract, and Mark Rothko keeps me from getting too representational. Gerhard Richter elevates my thinking and makes me a bit more aspirational.