After being completely astonished by a portrait by painter Robert Henri in the National Gallery of Art during college, I knew I wanted to explore a different way of painting which showed that level of spontaneity and impactful color. To that point, my instruction hadn’t included observational painting. Although I was pursuing a career in graphic design, I later connected with Beverley Street Studio School in Staunton, VA, and benefited from the teachings of many fine artists - and continue to do so!

I crave time to absorb the beauty of quiet spaces. Most of my paintings begin on location, and the practice has changed the way I see the world. In my mind, I feel that I am making paintings as I look around. While riding in the car, I am transfixed by the way light falls across the land, and I think about how I would lay the colors down.

My painting approach begins with tonal brush marks on the surface. I distill my observations to a value study initially, balancing the darks and lights, sensibilities informed by years as a graphic designer. Some on-site sketches are used to inform larger studio works but painting out of doors is always my preference.

Landscape painters who have influenced my work include California impressionists Edgar Payne and William Wendt, as well as Fairfield Porter and Jean-Baptiste-Camille Corot. I am increasingly drawn to work with more abstracted shapes.