I have been painting seriously for over 40 years. My interest in painting began ten years earlier than that when, as a child, I was inspired by Chinese painting at the MFA in Boston. My mother leant me her paint box for my first painting, a copy of a Van Goh's "Stary Night." The early years of drawing with ink have resurfaced in my mature work in recent years as I have returned to that medium using a flowing brush to render elements of nature such as stones, twigs, branches and many botanical motifs. It is also a way of journaling daily thoughts, dreams,and impulses, often in discarded books and dictionaries found at the local swap shack. The ink work has influenced my oil painting freeing it from the constraint of the "view" or illusionary window through which one visits the landscape in the traditional sense. The great masters of Chinese and Japanese painting have equal or more interest to me these days as do Corot, Arthur Dove and the moderns. I almost see Corot's space as no less "floating" than that of Gong Xian whose river banks appear mysteriously out of a universal emptiness.

Practically, I am painting larger canvases outside and enjoying the physicality of that experience, often completing them in one afternoon period. I also continue to work on others in the studio for long periods working the form until it breaks down enough to find the more abstract and simple elements of a motif. Oddly the constant revisions often bring me closer to what I originally felt on the spot. I find that the freedom and intimacy of the ink drawing frees something in the paint and the painting gives the inks more volume and form. I think I am moving towards painting that is less about objects and more open and experiential. I am enjoying seeing what evolves every day.