The materiality of paint is a force of nature. Paint swirls, puddles, runs, flows, spatters and sculpts. In my landscape paintings I try to create mark-making that allows these physical qualities of paint the strongest visual presence while exploring the mysterious cadences and rhythms of pattern in nature.

Something I prize is the transition in perception from subject to material, and back again. When the viewer makes their way slowly from the middle of the gallery towards a close-up view of a painting, and a “scene” transforms gradually, the closer one gets, to a pure abstract expression of paint, a kind of animated magic happens. It is a magic trick that is as old as the cave paintings at Lascaux and as contemporary as the latest art show in New York or Toronto.

I try to combine the concept of pattern in nature with the energy and many physical qualities of paint to power my landscape paintings.