My paintings are an attempt to extend the turn of the 19th-century landscape tradition that seemed to be ‘interrupted’ by the turn towards French Impressionism. I try to imagine what American landscape painting might have looked like if it had continued to develop in the direction that George Inness, Dennis Miller Bunker, Worthington Whitteridge, and even Thomas Moran (in his late works) had lived another 50 years.

The overall ‘look’ of my work is influenced a great deal by that of George Inness’ middle to late period, with considerable compositonal influence of Andrew Wyeth, in his simplicity and suggestiveness.

I took up painting quite late in life, after initially pursuing a career as a cinematographer. I quickly realized that the lifestyle that went along with that career did not suit me, so I combined my lifelong study and practice of fine art photography, and the making of Conte portraits to craft a method of landscape painting that I could accomplish despite my red/green colorblindness.

Filmmaker Carlo Caldana has made a lovely short film about my journey around colorblindness to arrive at my unusual technique.

Quite the opposite of Plein Air painting, my work is done entirely in the studio from heavily modified photographic references. The layered technique draws much from traditional painting techniques from the early days of oil painting, using glazes and scumbles of color over a monochrome underpainting.