In Progress

Several painting projects are usually underway in my studio at the same time—each in a different stage of exploration, refinement, or completion. This page offers a glimpse into that ongoing process, sharing work as it takes shape.

As the new year begins, I am returning to landscape painting as a way of thinking through composition, color, light, and surface. Rooted in memory and lived experience, this work is less concerned with description than with the emotional presence of land and sky, and with the horizon as a quiet but powerful structure—holding foreground and distance in balance.

The project moves fluidly across scales, from intimate works on paper to larger canvases, each informing the other through shifts between compression and openness. The paintings carry a restrained, atmospheric palette and a softened surface built through layering and removal—painted, wiped back, sanded, and partially dissolved—allowing chance and discovery to shape images that feel slowly revealed rather than fully asserted.

These studio-based projects are shared as they develop—an invitation to look, without expectation of completion or availability.

An ongoing series of works on paper uses the horizon as a structural guide rather than a descriptive subject. Simple divisions—above and below, sky and land—form a limited framework that allows for continual variation.

Paint is applied quickly and directly, responding to the paper surface. Edges dissolve, spaces merge, and portions of the paper are intentionally left unpainted. Light and atmosphere emerge through reduction.

These works are less about place than about a felt experience—of time passing, solitude, and the threshold between change and stillness. The series remains in progress, shaped by repetition, attention, and accumulation.

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I work on Arches oil paper, made in France by a mill whose history reaches back to 1492 and whose papers are still produced using traditional methods. The sheet holds light, edges, and atmosphere in a way that feels appropriate to this work, which is concerned with pause, division, and change. I want the viewer to remain aware of the paper as an object—not just a support, but part of the painting’s physical reality.