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I begin by spending time in the landscape.
Most of these paintings take shape there—standing along a mountain stream, in an open field, or under a wide sky—watching how light and color shift. I’m less interested in describing a place fully than in how much can be felt with very little: how a change in color, a fragment of light, or a shape half-seen can carry the weight of a larger experience. The paintings are built through selection and omission. Certain elements are emphasized, while others are left out or only partially resolved. I work in acrylic, building and scraping back layers with a palette knife, following the painting as it begins to find itself. It’s a process of looking for something that feels true rather than exact. What remains is an invitation—a place for the viewer to step in and find their own way through. I think of the work as a visual equivalent of a poetry stanza: something that holds a moment in a concentrated way while leaving space around it. Meaning isn’t fixed. It continues to unfold through attention—through standing still long enough for the land to speak. |
I paint on location year-round as long as the temperatures are above freezing. I've learned the hard way that acrylic freezes instead of dries when it's too cold.
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