The first period of my artistic journey began with a desire to tell stories with paint. These stories were ones I overheard, or experienced, first in Oregon, then New Orleans, then Wyoming, Slovenia, and finally New York. After 1996 my work took a more imaginative and conceptual turn, as I experimented with new forms of painting as well as framing approaches. But, as more recent works demonstrate, I have never abandoned gazing on and seeking to directly interpret three-dimensional reality. Formally, my work has emerged from European and American traditions of impressionism, expressionism, and what I consider to be the North American school of lyrical naturalism. Some practitioners of this school I harken to are Thomas Hart Benton, George Inness, Arthur Dove, Emily Carr, and especially Charles Burchfield. Going forward I fully expect to continue in this tradition, while engaging in more rigorous explorations of North American history and culture. But wherever my muse leads me, I cannot imagine ever letting go of the rectilinear painting space, representation, the hand-produced stroke, or prismatic color. In this sense I consider the first seventeen years of my artistic production to have been largely about experimentation, but also a prelude.