When I paint, my goal is to generate a sense of action, or a sense of place, in my vision of an intriguing scene. In my mind’s eye, I capture details, such as vague high rise buildings, or exhaust and vapors in an industrial sky.

I often start with photography to capture my reference material and design from real life. I create a series of paintings based on my photographs. Sometimes the first try captures everything I need. But perhaps more often, the second or third painting will include an innovation, such as a more dramatic sky, or shapes that catch the eye. In the third try I let my imagination go wild. I often work in a series; the painting problems are better understood, compositions are often improved and I am usually bolder. In the final iteration of my best work, I have the sense that the painting is almost painting itself. Persistence counts.

I tell my workshop students to be alert for a “happy accident” and don't mess with it or you will ruin your chance. A happy accident could be as simple as some dark paint bleeding into some white water, or a repetitive design that was not intended. When a happy accident occurs, I will try to quickly lock it in with a hair dryer, and reimagine my subject. Sometimes the final details can make the picture - a final stamp, or an afterthought.

Students ask about colors and materials. Every artist has favorites - I employ a considerable amount of cerulean blue, which granulates readily in a very wet mixture. I use a large well Pike palette and large brushes (often flat). I typically use 200# Whatman cold press paper.