The Studio

I typically have several projects underway at once, each in a different stage of refinement. This page offers a glimpse into that evolving process. Recently, my focus has shifted to landscapes. These works are less about a specific place than a felt experience—exploring time, solitude, and the threshold between change and stillness.

Among several projects, 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.

Interval

Interval is an ongoing series of works on paper that 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.

The work develops through repetition. Each painting is approached as a new interval, related to the others but responsive to its own conditions. Stillness is treated as an active state, and weather as a structure rather than a subject.

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.

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Each work in the series is 15 x 15 inches on a 20 x 16-inch sheet of paper. 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.