"With the exception of commisssioned portraits, my choice of subject matter for paintings is largely intuitive. I don’t always know why a particular doorway beckons or a bowl of fruit speaks to me. Sometimes, the subject relates to something I’ve read, a movie or a museum exhibit I’ve seen. For example, after a friend sent an article on the nature of contrails , I suddenly started noticing them everywhere – all over the U.S. and even hanging over the Parthenon in Greece. Although there is a scientific explanation for their existence, the trails appear to me to be ephemeral mysterious intruders, and their sky patterns are never the same. I feel compelled to paint the trails I see, anchoring them to the horizon with earth-bound buildings, mountains, and foliage in order to convey a sense of place that underlines the diversity of locations where they can be found.

Light and shadow remind me of the duality of the world we live in, and I am continuously inspired by the way light models form, being drawn to parts of the whole rather than the larger landscape. There are panoramas around us all the time, but I like to focus my own and the viewers’ attention on the often overlooked details that make-up the macro picture. To me, painting is much like writing poetry. As a poet chooses words to concisely convey feelings about a situation, object, or emotion, so a painter selects an economy of line, shapes and colors that express his or her feelings about the subject matter viewed or conjured. I find it infinitely rewarding, yet also challenging, to be able to explore and create intimate visual records of my feelings about the fragments that form my world."