From parked cars to silos, 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 try to push them toward resolution, trying to leave just enough tension to keep it alive and allusive.