This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl
This website showcases my work since I returned to New Mexico in 2003. For any painter who has visited or lived in the west, the landscape is all but impossible to ignore as a subject. Its vast scale, pristine light, and endless variety are incredibl

After experimenting with increasingly more abstract landscapes for a couple of years, I’ve begun to work in a more ‘purely abstract’ non-referential manner. This change has freed me from the need for preconception and control, allowing me instead to have a conversation with each painting about risk, accident, and spontaneity. This dialog has challenged my preconceptions about what a painting ‘should look like’, and how it should engage its viewer.