My subject matter is mostly about people and places in the pacific northwest. For me, my work is about seeing; of being discreetly aware of the world around me and the commitment it takes create art.
The subjects in my paintings vary. Sometimes it’s the quiet solitude of a street scene, like a gray misty morning behind a dingy blue building with a lone figure struggling to light a cigarette, a gentle breeze over a patch of pink meadow mallow against an oyster house, or commercial tuna fishermen icing up before heading out.
Light and shadow play an essential role in my compositions. It’s in the translucent glow of towering silos bathed in a late afternoon sun and in a graceful shadow that gently falls over a rooftop beekeeper tending his bees.
My sculptural work has its foundation in the human form. Stylistically, these semi-abstract figurative sculptures appear as though they were formed by natural weathering processes; the same forces that shape the distorted stones, twisted driftwood, and sun-baked bones I collect on shoreline walks near my home.
These sculptures are made to be experienced as “minumental” objects held in the hand or “monumental” in public spaces shared with others.