My paintings sit at the crossroads of Post‑Impressionism, California Impressionism, and American Regionalism, filtered through a career in photography and film. I work from my own photographs of rivers, levees, farms, coastal cliffs, and suburban edges, using paint to shift my camera captures into lived, felt spaces.
Structurally, I'm in conversation with early California landscape painters and Cézanne’s concerns with light and form; thematically, I'm closer to the American Regionalists and social landscape photographers who map how we inhabit working land. The result is a body of work that treats mailboxes, beehives, tractors, beaches, and gas stations with the same attention we usually reserve for grand vistas.