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Choosing what to paint is an emotional decision. Light is always my motivation, whether discovering a stunning naturally lit scene or manually adjusting light in still life. Indoor lights can be arranged for appealing effects. But outside, preferred lighting requires waiting for the right time of day. Early mornings or late afternoons are best, when the sun is low and shadows long. I prefer backlit landscapes and water reflections. On canvas, I return to the moment of light that caught my attention, finding again in the painting, the feeling of seeing how light can enrich the most ordinary subjects.

Each of my paintings starts on hot red-coated canvas. The red ground, while contributing to emotional appeal, is also the axis for color interactions. While painting, I concentrate on visual perception, pushing and manipulating color to dramatize what appeals to me in the subject. At brush range of the canvas, where subjects lose identity, there is little concern for the picture, only for the shapes of color within. Each brushstroke stands for a certain abstract color block. Juxtaposed color shapes eventually assemble as a whole pictorial representation. Bits of unpainted red ground permeate the finished canvas to unify and generate optical effects both literal and psychological.

My paintings represent how I see, using color language both abstract and academic. They have more to do with the way I interpret what I see than with the subject itself.

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