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My first memory is of scribbling with a cyan crayon on the inside of a cereal box. Since that time I’ve spent countless hours painting landscapes on sight. Though I also work in a studio, I prefer to be there, in nature with a brush and canvas.

When in the presence of a plein air painting the essence of the place shines through. There are details and an animism that the camera cannot capture. These windswept paintings bear the literal elements of the landscape they represent in bits of sand and plant clinging to the canvas. The viewer is there, and that is the feeling I transmit through my art art. There's no better way to preserve the spirit of the southwest landscape than through plein air painting.

It is a spiritual practice. “Double Arch,” for example, constitutes nearly 60 hours spent in front of the subject, brush in hand. During that time I meditatively absorbed every nuance and detail, each intimate interaction recorded thoughtfully on canvas. Viewers are then invited in by the landscape and the artwork to enjoy it through similar meditation.