The coastal realm holds a continually renewing fascination fo r me. While the subjects of my painting vary fro m the Arizona deserts to Northern Califo rn ia and Europe,
I always return to the New England shoreline, the pl ace to which I am most deeply connected and where I feel most emoti onally charged.
I spent my yo uth swimming, sailing, and exploring the islands and bays in the waters around Boston harbor.
Observation Our family always had an assortment of small boats.
In college, my brother and I bought an old wooden yawl in quite rough shape, and, with a liberal dose of Git Rot and our limited funds, we got her sailing again.
Later I wo rked for a period of time as a yacht captain sailing from Maine to the Caribbean.
For the past several years, I’ve been cruising the New England coast on my down east cruiser,Atelier, which I use as a fl oating studio.
Concurrent with my obsession with things maritime, I have known from early childhood that I wanted to become, as my far ther was, an artist.
It was inevitable that the two should become one.
However, my paintings are not marine paintings in the classic sense of the word.
As marine art authority Russ Jinishian has noted previously in this publication, marine has “grown to embrace wider and diverse treatments.” My work falls into this category.
Observation I must have a personal and interactive connection with the subject I am describing.
For this reason and other tech- nical ones, I never painr from photographs.
All my pi ctures are from direct observation, my memory, or my imaginationusually it’s a combination of all three.
I strive to make my painrings interesting as a work of art and frequently sacrifice their specifi city in order to better exploit their artistic possibilities.
Ultimately, the painring must exist on its own merits.
Artistically, some of my strongest influences have been the American 19th-century landscape painrers and, in particular, those who wo rked technically and philosophically in a style we have come to call Luminism.
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