Statement

I depict reflections in skyscraper windows because they give a fresh view of familiar scenes. Reflected shapes evoke more than architecture. To me they become characters, sculpture, animals, and bits of language I can’t quite read. These associations reproduce the mental stimulation of being in a city.

 My projects start with expeditions for sketching and photography. I plan for times with bright light when the sun is low. I usually will have a few buildings in mind that have attracted my eye, but changing angles and lighting always reveal some unexpected treasure. I try to remain present with my visual surroundings which is a challenge in such a verbal and acoustic environment.

After I’ve had a chance to digest my urban experience, I’ll select images as starting points for paintings. The most successful finished projects are often not from the sources I would have expected. Often an image will demand a particular painting technique, or the kind of work I’m trying to develop will require a particular sort of image.

I remove geometric perspective from my paintings to emphasize the world created by reflections. The vanishing point in perspective corresponds to the eye point. By painting windows without having them recede, each window pane’s point of view gets equal weight. I approach each rectangle as a separate composition. They all tell their stories simultaneously. They way they interact (or don’t) weaves the story of urban life.