In terms of form, I am (most of the time) a spectral painter.  Although I experiment with earth tone palettes from time to time,  I most often use the DuMond palette and work within this tradition of painting that I learned from students and "grand-students" of Frank Vincent DuMond, one of the great teachers of painting at the Art Students League of New York during the 20th century.  To me, it is a very satisfactory way of painting, and is to me the method which enables me to express my visual ideas most clearly.  As one of many painters in this tradition, we intuit that value is all around us, but that these values are integrated with spectral color: indeed, the rainbow is everywhere and all encompassing in our visual world.  Pursuing painting as such, we use a specific palette of yellows, reds and blues.  Using this palette, we paint in a very direct way, drawing with the paint, unifying shadow form*, all the while feeling the flow of the spectral shifts and nuances as they present themselves in the atmosphere around us.  As Sargent said, "Try to get the tone just right": that's what we are attempting to do, and in so doing, I think we are seeking to capture what J. F. Carlson called the "transient moment". 

In terms of content, I paint mainly still-life and landscapes, with emphasis lately on the later.  Whichever it is, I approach my subject with the idea of "getting down" what it is that I see.  In this way, the content of my work is the evidence of an “empathetic encounter” with the subject.  And more and more I am delving further into this "direct response universe", looking for a more and more immediate response to what it is I see: "How far can I go?" is a question I ask myself.  I hope this gives my work honesty and accessibility to the viewer.  In essence, the painting’s content is an invitation to share in my unencumbered and immediate vision of my subject.  At the same time, the content of my work is about resolution, or my version of resolution.  I stay away from extreme perspective and angles, I keep the values fairly close in relationship to one another and look to harmonize the visual world into something unified and holistic.

*One of hallmarks of this approach is the use of a puce: one for indoor (warm) and one for outdoor (cool).  This puce, or "shadow tone" supports the color cast of the indoor and outdoor environments, respectively.