I consider myself a landscape painter, but not in the traditional sense. For me, landscape means everything about the cosmos—within, on and outside the planet on which we live.
I began this particular artistic venture about seven years ago painting light as the American Luminist painters did in the mid-nineteenth century, but within a contemporary, all-over, minimalist framework — paintings that are reminiscent of the beauty and joy of first sight and interpretation. I did this by applying closely positioned dots of paint on to a horizontal canvas or piece of paper textured with layers of color. This gave an encompassing impression of stark light in its many variations.
As I developed and fine-tuned this technique, my gaze went from looking outwards to looking back and within the landscape. Picking up on the various and newly published Landstat, global positioning and other geographical photography, I imagined primary landscapes as viewed from beyond the planet looking back on it, and from within the planet looking out, suggesting the beauty as well as the fragility of the earth’s early atmosphere, crust and mantle.
I truly believe that with all the new scientific and technological visual information from which we can view our environment, as a painter one can no longer rely on 19th century formulas for painting landscapes that lack the recognition of the immediate encroachment of urban sprawl, pollution, and natural and human devastation.
I look at my work not only as a political, environmental and ecological statement, but also as a complement and continuation of an already developed and defined genre of landscape painting.