My interest in landscape painting springs in part from an avid childhood interest in natural history. I collected insects for 14 years prior to attending the Memphis College of Art. In fact, I had seriously considered a career in entomology. Many of my �bug� collecting expeditions took place in Sunset Park along the Missouri River and my fascination with river imagery is rooted in those experiences.
My paintings are distillations of sketches and photographs. The imagery chosen is a vehicle for feeling; ie. the subject under certain atmospheric conditions engenders an emotional response that determines how the image is to be treated. It is this treatment (the language of painting) that imbues the commonplace with greater meaning. This gives the artwork a meditative quality, and I see my paintings as objects of contemplation.
Painting is a process, a cyclical dialogue about relationships that occurs among the artist, the image and the artwork. The result is an abstraction of sensation, a methodical yet intuitive arrangement of formal pictorial elements (line, shape and color) expressed by the application of paint to a flat surface.
This arrangement of pictorial elements stresses the two dimensional nature of the painted surface; while the relationship of these same elements to each other creates an ambient spatial effect. The tension implied by the reality of a painted surface and its power to allude to something more is dynamic and evocative. Evocation is an enigmatic quality capable of sustaining interest long after the information inherent in the subject matter has been dispensed.
Choice of media and the method of application is an integral part of the process. For example, the airbrush is an excellent tool for rendering evanescent effects of aerial perspective such as fog and haze, because it embodies those very qualities. The means used is chosen for its capacity to express the image, give it substance, unify the effect and infuse the transitory with an appearance of timelessness.