“After twenty-plus years of deadline-driven computer-based museum exhibit design, I walked away from my array of Macs and their yearly-updated, state-of-the-art design software packages and have returned to painting techniques perfected about five hundred years ago. Materials have changed markedly since the Renaissance, and events over the centuries have allowed artists to probe new expressive and interpretive areas, but the artist’s hand and the ability to make marks on paper or canvas are what interest me now. I am unplugged, surrounded by brushes and paints in my newly built studio and finally have time to explore the world around me.
So, I paint landscapes old and familiar, like Central New York farm country or the Forest Preserve out my back door in the Adirondacks, and seascapes, new and exotic to this set of eyes, like the rocky coast of Cape Breton, NS or the sandy beaches of Ocracoke Island, NC. And with each canvas comes the challenge of figuring out which elements are important and which are not, continuing a basic human need to describe the world that’s been around since our ancestors first drew and painted animals on cave walls over 15,000 years ago. No electricity needed and that’s fine with me.”