My paintings are improvisations—an orchestration of color, movement, and feeling. Each begins without a plan: a blank panel, a few random marks, and a willingness to follow wherever the imagination leads. As I work, I often feel I’m composing rather than painting, letting rhythm and intuition guide my hand. Each brushstroke becomes part of a larger musical structure—an evolving score that balances energy with order.

Painting, for me, is like going for a walk. Sometimes I’m absorbed in what’s right in front of me—the surface, the marks, the changing relationships of color. At other times I’m aware of how I’m feeling. A new red mark, a patch of blue, can suddenly bring a “dead” painting to life, the way Turner transformed a picture with a touch of orange. The act requires attention: to sense when something alive is beginning to happen and to stay open to surprise.

My paintings are quiet and wild at the same time—exuding energy yet constrained by the tight architecture of their design. I aim for a dimensional quality, a sense that a viewer could wander inside the picture, following the gaze as if it were a small, self-contained world. They are mysterious in that way—suggestive of places not yet known, spaces that invite curiosity: “What’s going on in here?”

I’m self-taught, though I grew up among people who valued art and understood it deeply. As a boy, I admired the Old Masters—their rich colors, restraint, and craftsmanship. Even before I painted, I dreamed of being a classical portraitist, not for the storytelling but for the precision and beauty of the work itself. I’ve always painted outside the orbit of fashion or schools of thought. Fortunately, there’s room in the art world today for every kind of vision—abstraction, realism, surrealism, and everything in between.

My paintings are made with oil on Ampersand panels. They’re relatively small, not because they lack ambition but because they don’t need size to have power. They’re meant to live comfortably with their owners—to be companions in a room rather than monuments to be looked up at. I want viewers to spend time with them, to relax into their energy, and to discover something new each time they look. There’s no need to “understand” them. Just give them your attention, and they may change you.