Painting for me has always been about one thing: light. Whether I am standing in a field at golden hour with a pastel stick in my hand or working in the studio from memory and feeling, I am after the same truth — the way light falls, the way shadow gives form its weight, the way color carries emotion before the eye even knows what it is looking at.

These paintings are expressive, sometimes abstract, always saturated with color. A vase of blooms, a hillside at dusk, a stand of aspens catching the last of the afternoon — the subject is the invitation. What I am really painting is the light that reveals it. And what I find painting outside, en plein air, I carry back into the studio — not as reference, but as feeling. The two practices feed each other constantly. They always have.