Today the term "realism" in art is often associated with a quite literal rendering of an actual or imagined scene in all its detail, resulting in a photorealistic image. While I would not criticize the prodigious skill displayed by such works, for me these images hold limited long-term interest as art, because as a viewer I have no role to play in experiencing them. They are, as the great American Impressionist Emile Gruppé often said, "too much for the money." My works are realistic in the sense that they show identifiable places and things. However, like Gruppé, I strive for a somewhat looser rendering of the image, in which the paint and how it is applied suggest detail and convey much of the emotional content of the work. Brush stroke often assumes equal importance to composition, color, and value in rendering the scene. With this approach the viewer becomes an active participant in realizing the image both visually and emotionally. This is the essence of what has come to be called "American Impressionism." The same approach is applied to my works in oil pastels.
     The works I produce reflect my sense of awe and wonder of the natural world we inhabit. While many of my paintings include human-made objects and occasionally people, the subject is always the natural world and its beauty. Much of that beauty comes from the play of light on objects, which impressionism captures well. From this reverence for the natural world flows a feeling of peace, calm, and tranquility, even in scenes with crashing waves or stormy skies. As a result, my collectors tend to be people who have a deep appreciation for the power and beauty of the natural world and are comfortable with their place within it.