Most of my art has been concerned with landscape. There might be obvious parallels with traditional Chinese painting or the modern Japanese woodcuts that inspired me early in my career. The truth is that landscape attracted me for its juxtapositions of form.
There is no more complex and dynamic balancing of complex groups of shapes than in nature. Although I explored abstract expressionism and color field painting as a student, I found that landscape allowed me to look into the same themes in a more sophisticated fashion and in a way that stayed vital after those movements seemed to have ended.
Most of my work consciously excludes the human form or any other references to society or civilization. I cannot fully explain why, except to say that including human figures or other references to humanity seemed clichéd and hackneyed to me. Figures seemed to be an expedient shortcut to achieve scale, or an all-too-dangerous temptation to sentimentality. I don’t need to explore those things in my art. Read more