Above all, these paintings are how I make sense of where I am. For instance, Kentucky landscapes are managed for pasture, Maine has a random aesthetic of regrowth, and Italian landscapes are intentionally configured like paintings. A few years ago, I'd gone to Italy expecting to paint the same objects that until then had held my attention. Instead, I was so captivated by Italy's vistas that I returned to a key element - horizon lines - that had gone missing from my paintings over the years. Since that trip in 2013, I've been looking into the distance, aware that whatever's at my feet is out of focus. Certain motifs hold my eye. Chief among these are stands of trees on boundary lines, a road that disappears in the distance, and the time/space expansion of the Southwest pueblos. I also mean to understand specifics about the plants around me: bog rushes in snow, chamisa, shadbush, water hemlock. Occasionally I include architectural elements to provide a structure for the paintings and a reminder that all landscapes are inhabited by people.
Oil paint layers nicely, allowing me the freedom to rework a painting until I'm satisfied that I've captured the essence of the subject. I want to be honest and accurate, not necessarily factual.
On this Alice in Wonderland page, small paintings appear large, and large ones small. Please keep an eye out for the actual dimensions.