I've settled into primarily two subject matters: seascapes and nudes. They are always paintings first, although the imagery is classical and on the surface, conservative. The adventure is in the language of painting. I love graceful line, luminosity, and subtle color. I need the subject matter right in front of me.

The specific subject is my tool to try to reach for the more universal. The untrained eye might quickly pass my work by. There is no shock of the new, but only my gentle hand and eye. This is a humble and restrictive search. I work very hard for the final work to look untroubled, fleet, and free. I realize that what I leave out is as important as what I put in. I try to let go of the outcome and invite the accidental and to discover a slightly new way to represent.

My invention is in the gears rather than the clock face. I wish the beauty to remain and all struggle in the making to disappear. Painting is my soul song. Only one song. It is the song of love in the disguise of beauty.

About the photographs... I came to photography much later. I work with one camera, a Wisner 4x5 field camera; and one lens, a Schneider 210mm. I was most influenced by Kenro Izu, a great man as well as a great photographer. Kenro taught me that, in photography, there is only one moment and to attend to the craft. In my photographs, I seek a metaphor. What else can it be? I try to capture the feel of the subject as well as its visibility. On the surface, the photographs have a different look than the watercolors, but it is the same voice and the same song.