The real joy of painting for me is working directly from life and on location, starting with small study sketches. I feel a painting is successful when I first envision the result, then make that happen. If a painting succeeds without visualizing it in advance, I consider that to be luck. Even though I work from life I don’t feel obligated to represent exactly what I see. I often move, add, or change things to suit my composition. I’m like a fisherman, I don’t always tell the truth, but instead tell the story the way I’d like it to be.

I don’t have any broad statements like, “my paintings are about…” I’m not trying to preserve the past or depict things old or new, or any such thing. Concerning subject matter, I never really know exactly what I’m going to paint and instead act on instinct when a potential painting appears in front of me.

Sometimes the scene serves up a ready painting idea and I just have to put it down on paper. More often ideas come from something less complete; a glimpse of atmospheric effects, the way sunlight lands on a surface, or an element in a landscape. I paint at every opportunity, however the most important part of painting for me is not actually painting, but the mental preparation that I’m doing all the time.

I’ve chosen watercolor for its gestural quality, capriciousness, and spontaneity. The ability to quickly suggest form with loose washes and conjure the illusion of detail with crisp brushwork has always appealed to me. This approach to watercolor requires me to work quickly, and I’m willing to take the risks associated with that to realize its potential.

North Beach and Russian Hill

Coming 'Round the Mountain

Quebec City Promenade. The exuberant Chateau Frontenac hovers on a high bluff above the 1640 French Settlement on the St Lawrence Seaway.

Beacon Marine

Perfect Day at Perkins Cove

Thurstons Lobster Pound

Lobster Trophies