From parked cars to silos to surfboards, I am drawn to abstract simple shapes and momentary lulls in the action up and down the west coast. I like to take a reductive approach, stripping a landscape of detail so that color and shape can play a more important role than details.  I often introduce competing dynamics - motion and stillness, color and lack of color, strong lines and amorphous shapes - and work to bring them into some kind of almost-harmony, leaving just enough tension to keep it alive and allusive.