All of these paintings began with looking at real things in the world. For over a decade my focus has been on hedges and buildings for the simple reason that they are in my day to day periphery. Either in Brooklyn as the view out of the window or in Canada, where I go each year, these forms routinely are what is in my way by either blocking a ‘view’ or as a presence that I have to go around. They command my attention for their solidity and the way they sit on the earth’s surface. Constantly acknowledging these forms allows me to feel parallels with my own existence in the world.
Finding the right color that will produce light, space and the feeling of hope, (goodness, elegance, the rightness of purpose) in each work is a large part of my drive. But I also work with many of painting’s other elements to push for a physical sense of vastness. Through spatial and coloristic interplay, issues of space vs. illusionism, conceptualism vs. physicality, classicism vs. newness, exist together. It is in these co-existences that I hope to create in paintings, a freshness and a place where art, myself and the outer world, mesh.
This is how I approach painting. It’s not that I am painting a ‘landscape,’ it’s that I know I am fundamentally a part of it all and the reason for painting is to find out a little bit more about that.