I describe my approach to contemporary realism as "Social Entropy." Without adding energy to a system, everything we experience will decline. Most of my paintings are based on objects and events that reveal the constant decline of our infrastructure, society and environment. It's difficult to avoid painting visual clichés, the old barns, bouquets and breaking surf. To be honest I've tried them all at one time or another. It takes more effort to create a meaningful painting.

    The artist's creative process is far removed from the viewer's experience in time and context. One can only imagine the potential reaction of the other and hope the painting relates to the viewer at some level. Having worked for many years in the design field, I am painfully aware that the average viewer will automatically reject an unfamiliar image in favor of  something they feel is relevant to their personal experience. A representational painter must walk a fine line between creativity and comprehension. Stepping too far in one direction will result in an illustration intended for universal appeal at the expense of aesthetics. Too far in the opposite direction chances bewildering the viewer.

    I respect most  painting styles, but for me, many fail to deliver part of the message. Despite the huge selection of new media and creative outlets available, people still enjoy viewing and creating traditional  paintings. I see a historical progression in representational painting that often transcends contemporary fads and celebrates quality of execution. My study of 19th and 20th century art has been influential in my development as a painter. However, I don’t make a conscious effort to emulate any particular artist or school of painting.  It is natural to have learned a great deal from studying others and my enthusiasm for their achievements are evident in my own work. My diverse experiences have expanded the scope of my painting. 
I am not a photo realist as I modify reality in a number of ways to achieve the desired composition, color and texture. Ideas have become more important than simply decorative subject matter. I feel a painting should have an underlying distinguishing idea. As I have evolved so have my paintings in both subject and technique. I try to avoid repeating myself, although I have occasionally used repetitive subjects in completely different contexts because I felt that I could do more with the idea.

    I have always had a preference for transparent media. I like my paintings to be viewable at almost any distance and heavy pigment tends to force the viewer into some optimal viewing range. Certainly the paint has a quality of its own and that's fine for some but not at the expense of the viewer.  I have explored applications of transparent, translucent and glazed pigments applied to a variety of surfaces. Most of my recent work is on birch panels coated with an absorbent gesso surface. My approach to painting is about the same using watercolors, acrylics or oils.

    I enter the painting process without much regard for style. I must enjoy the process in order for the painting to be successful. I paint what I have seen or what is on my mind without trying to faithfully represent nature. I believe that our mundane surroundings are a reflection of our times, our culture and the human condition, art worthy if viewed in the proper context. Usually the objects or people depicted are symbols, signs, props, and stage settings used to convey a visual experience. It is just what strikes me at the time, intuitive, something that words can’t necessary describe. I think the following says it best.

"The wonder of the world, the beauty, and the power, the shapes of things, their colors, lights and shades, these I saw. Look ye also while life lasts."

—Gravestone inscription, Cumberland, England