Throughout the work in my oeuvre, there is an intense interest in perception and light. I manipulate or accentuate the delicate balance between subtleties of visual phenomena. 

In my early installation work I concentrated on using the particular light and textural qualities of a given place to make site-specific works in a luminist tradition. This work lasted several years and eventually transitioned into acrylic abstract hard edge paintings that attempted to reinvent landscape painting without any representational elements. Landscape painting has traditionally been about claiming a particular attitude, nationalistic or religious, or staking a kind of claim on place and time and representing this attitude. I am more interested in abstract issues such as a sense of place and time; physical and psychic tension; timelessness; color and form, without claiming ultimate knowledge or ownership.

Excitingly, the work has developed so that an actual landscape is no longer necessary as a starting point. The new acrylic and gouache paintings on paper have no source material, no original site. They are not started with sketches or photographs; they are built up from an initial wash of paint on the surface with layers of paint and tape, glossy and matte, transparent and opaque. When done they have a certain attitude or feeling about them that is undefined and open.