-
Sea Geometry No. 123
-
Sea Geometry No. 238
-
Black Trees No.2
-
Blue Trees No. 10 (Dresden)
-
Blue Trees No. 2
-
Blue Trees No. 4
-
Form Singularity No. 153
-
Form Singularity No. 250
-
Form Singularity No. 258
-
Form Singularity No. 273
-
Form Singularity No. 284
-
Form Singularity No. 285
-
Form Singularity No. 287
-
Hancock View/Trees No.3
-
Harpswell Woods No. 17
-
Island Geometry, Monhegan: Cathedral Woods No. 07
-
Island Geometry, Monhegan: Cathedral Woods No. 08
-
Island Geometry, Monhegan: Rockweed No. 08
-
Night Trees No. 01 (Dresden)
-
Night Trees No. 03
-
Purple Trees No. 04 (Monhegan)
-
Purple Trees No. 05 (Monhegan)
-
Purple Trees No. 10 (Tumbledown)
-
Purple Trees No.2 (Monhegan)
-
Rockweed No. 9
-
Sea Geometry 228
-
Sea Geometry 229
-
Sea Geometry 230
-
Sea Geometry No. 124
-
Sea Geometry No. 125
-
Sea Geometry No. 133
-
Sea Geometry No. 136
-
Sea Geometry No. 138
-
Sea Geometry No. 225
-
Sea Geometry No. 231
-
Sea Geometry No. 233
-
Sea Geometry No. 235
-
Harpswell Woods No.16 , 2021
-
Blue Trees No. 3
-
Blue Trees No.9: Dresden , 2021
-
Fern Glenn No. 4: Monhegan , 2021
-
Harpswell Woods No. 2
-
Harpswell Woods No. 3
-
Harpswell Woods No. 4
-
Island Geometry Acadia: Compass Harbor II
-
Island Geometry, Monhegan: Rockweed No. 7
-
Island Geometry/Acadia: Sandbeach No. 4
-
Ocean Hull No. 59
-
Ocean Hull No. 69
-
Otter Cliff Trail No. 1 , 2021
-
Sea Geometry No. 118
-
Sea Geometry No. 121
-
Sea Geometry No. 168
-
Sea Geometry No. 208
-
Sea Geometry No. 222
-
Up-rooted No. 5
-
Sea Geometry III
-
Purple Trees No. 1
-
Island Geometry, Monhegan: Rockweed No. 6
-
Island Geometry, Monhegan: Rockweed No. 10
-
Island Geometry, Monhegan: Cliff Trail No. 2
ARTIST STATEMENT
An abstractionist, my work is known for use of color, line and geometry influenced by the Maine coast, where I live and work. My art begins from observation and experience. Nature, man-made objects and the spaces between them that often generate geometric shapes and patterns inspire me. I filter which elements of my observations and experiences to focus on by removing detail and injecting them with amplified colors. The process and the methods I use to paint vary widely. From scraping, wiping, brushing, and spraying to spreading the paint with palate knives and scrapers, in the form of metal, rubber and even old credit cards. I often balance the use of crisp lines and shapes (created by taping off areas) against visible aspects of brushwork and other mark making processes.