My development as a western realist painter comes through a combination of personal heritage and an appreciation bordering obsession of the objects of classic Americana [and their stories].

My appreciation for the subject lies in a belief that everyday objects (apair of boots, a saddle, a rifle, or even the hand-forged grill of a 1950s Ford) are artwork in and of themselves. When I look at an old saddle, I first see the craftsmanship and skill that went into assembling it, and then I see the stories it tells through a myriad of scars, wear, dings and dents from a lifetime lived. Through detail, scale of work, and soul, my paintings are my way of capturing the beauty inherent in these objects and imprinting that sense of appreciation on the canvas.

While fine art is my way of contributing to the collective zeitgeist of western culture, my appetite for its history touches all creative mediums. From the narrative fictions of Cormac McCarthy or Larry McMurtry, the histories characterized by Allan Eckert or James Michener, to the silver screen of the Coen Brothers or Michael Mann – I moved to Los Angeles in 2008 to immerse myself in [and contribute to] all facets of that creative bastion. Through the ensuing years, my creative voice [and its focus] has continued to strengthen
through my artwork.

I close my thoughts with an encapsulating quote from one who said it better (St.Francis of Assisi): He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands, his head, and his heart is an artist.

With my hands, my head, and my heart, I am devoted to creating art that shares my love of the West.