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Conservatory of Flowers I
	The Conservatory of Flowers is located in the Golden Gate State Park in San Francisco. It’s a large greenhouse filled with beautiful plants from around the world. What is depicted in this painting is a large circular tank that is maximally filled with water; the surface stays even with the top of the tank wall. So, when you are looking at the surface of the water, you never see evidence of a container. The surface of the water is a mirror reflecting everything around it.
Point Reyes I
	Point Reyes National Seashore Park is located on the West Coast in Marin County. It is a destination spot. A road winds its way through rolling and lush pasture land dotted with cows and ranches and ends at the top of a rocky point jutting out into the Pacific Ocean that serves as the foundation for the Old Point Reyes Lighthouse.
Point Reyes II
	There is beauty in the Point Reyes National Seashore Park in every direction. This spot is near a place where local fishermen off load their daily harvest from the ocean. Whether visitors are driving cars, pedaling bicycles, riding motorcycles or just walking, they will see marsh, rolling green hills, blue water, cows, fishing boats, and ranches. It’s a respite—a paradise.
Conservatory of Flowers II
	When I look at this painting now, I hear Dolly Parton singing, “Islands in the stream, sail away with me…” and I believe I hear those lyrics, because the lily pads look like or feel like islands and islands in tropical water and tropical water because of the hanging basket overflowing with a flowering orchid. Images of Hemingway emerge, in my minds eye, standing on the porch of his Cuban hacienda. Amazing how the mind connects things!
Lily Pads in Shallow Water
	Notice how the sunlight is playing off the lily pads partially submerged in the water and through the water to the sandy bottom.
Mountain Home
	Every so often I create a painting that has a building in it that is reflecting a bright white light off one of its walls and when the painting is an especially good one, I dedicate it to Edward Hopper, as a way of paying homage to him and his great body of work

Morning in San Francisco
	I saw what is shown here early on a Christmas morning. Notice the flowering plants. As cold as one can feel in San Francisco, temperatures never or rarely ever fall below freezing and therefore plants flower even in winter months. Off to the right (not shown) was a couple silently exercising (tai chi) which made the moment and view even more beautiful through the fluidity of their motion.
Guest Room
	This is one of those special paintings. I didn’t start out with the idea of painting a room inhabited by a ghost, a spirit, an apparition. After I got the windows and the room the way I wanted them, I kept painting even though I wasn’t sure what I was trying to paint in the middle of the room. Eventually, I saw that I was painting a spirit and when the spirit became recognizable, I stopped.
Pond: Reflection of Flowers
	Morning light and white blossoms are falling on the surface of water that is reflecting yellow flowers that sway above white stones, lily pads, and fish that quietly appear and disappear on the surface of a small pond.
Pond: Rocks, Fish, Lily Pads
	I have been intrigued by fish ponds for some time now—fish, lily pads, water, rocks, reflections—but a new element is shown in this painting: the play of morning light on the white stones, silent, soft, serene.
Conservatory of Flowers III
	One thing I’ve been wrestling with over the years, with painting and paintings, is the slice of life, a snippet of something, a single image, and how that differs from music, films, dance, literature, all of which occur over a period of time—the artists in those enterprises can take their audiences to many places, give them many experiences, bring them up and take them down. A single painting by comparison seems to be limited. With the painting shown here, while the subject is singular, time is not frozen. What you see is not a snippet, not a slice of life. I have tried to make this painting more like life and living. The subject is on the way IN and on the way OUT and on the way TO BECOMING, again.
Pond I
	Pools of water with plants and fish provide wordless poetry.

Pond II
	More wordless poetry.
Midnight Pond
	This painting sprang from my imagination, and as you can see, I was imagining a big pond at night.  If you look at the painting closely, you will notice that there are fish near the surface enjoying the extra light that the full moon is providing.
Rocks and Shells III
	Waves have broken and water spreads thinly as it begins to reverse its direction back to its source pulling out sand from around the edges of rocks and shells which will eventually free them to toss and turn in the surf.
Cow in Pasture
	This cow was standing alone in a pasture that lay beneath the mountain and home that once belonged to Thomas Jefferson, Monticello, in Charlottesville, Virginia.
Pond III
	When I look at this painting now, I start imagining what I would see if I were submerged in the pond looking up at the sky…?
Woman with Shades
	I didn’t intend to paint a woman wearing sunglasses when I started this painting but found myself adding the glasses at the end and the shades seem to make her a little more mysterious.  Who is this woman?  Where is she going?  What is she thinking?

Woman with Cup
	How many times have we gazed at a sunrise or sunset sipping on a cup of coffee?  Quite a few if you are like me.  It is always a time of relaxation, contemplation, and awe.
Full Moon Over New Mexico
	I have visited New Mexico a number of times and made my way to Santa Fe and Taos always traveling during daylight hours and south to north with one exception; on that one occasion I was heading for Taos traveling west to east and at night.  At some point I crossed a bridge, but I don’t know what the bridge looked like or its name.  I was focused on the full moon, the Prussian blue sky, and the silhouetted mountains.
Point of Land
	One of the most beautiful things about Bar Harbor are the long, low curving lines and forms and elegant, subtle colors, as shown in this painting.  There are other spots, however, where there is much color—reds, yellows, oranges, purples—so you get the best of both worlds.
Tide Pool
	This could be many places: anywhere in the world that has tides.  When tides go out small pools of water remain, tide pools.  They mirror the sky and always remind me of the pools of water that formed millions of years ago where simple life forms first appeared.
Northern California II
	Like Maine on the East Coast, California has points of land that finger out into misty and bright blues of the Pacific Ocean.  The big difference between the two locations is elevation.  In California you get to look way, way out and way, way down which translates to awe.
Rocks and Shells IV
	When I walk on beaches, I look for beautiful shells, rocks, and ancient Mayan jewelry.

Marin County
	Marin County in California is one of the most beautiful places that I have visited.  There are cattle ranches, farms, flat land, hills, mountains, rocky coastline, redwoods, beaches and more to enjoy there.  The rich blue sky in this painting with its puffy white clouds floating over flat pasture land is an example of the simple but exquisite beauty to be found in the region.
Summer Storm-Outer Banks
	It was a summer day and I was on the Outer Banks of North Carolina in a little town called Duck.  Morning had passed and off shore a storm had formed and was moving inland.  Soon, the sun drenched dunes would be pounded by rain. I and other beach goers would wait until the last moment to flee our positions on the beach for dry shelter.  An oncoming storm like the one pictured here is one of the most beautiful things to see at the shore and they don’t last long.  In fifteen minutes or so, beach goers can be back on the beach—reading, playing volleyball, picking up shells or whatever pleases.
Dune and Grass
	When I was a child, an aunt and uncle took me on their annual vacation to the Outer Banks of North Carolina.  The most vivid memory I have of the Outer Banks is of the small, cinderblock cottage and the sand dunes that surrounded it.
Rocks and Shadows
	I was on Grandview Beach in Hampton, Virginia early one spring morning to photograph the marsh that lay behind the dunes. After I finished taking pictures, I started walking back toward my car and noticed small tracks all over a sand dune, hundreds of them. I wasn’t sure, and I’m still not sure, if the tracks were made by fiddler crabs or birds. Once I started following the tracks, I noticed how the dried stalks of sea grass were casting blue shadows across the sand. That image became my next painting.
Mountain Morning
	One of my favorite get away places is the George Washington National Forest which is in my home state of Virginia and neighboring state West Virginia. My first visit came about when a friend invited me and a couple of other guys who had collaborated on film projects with him over the years. I have never forgotten that first trek up the narrow gravel road that ran beside the Piney River. That’s the name someone had given it but I would have called it a creek or stream rather than river. I grew up in Hampton, Virginia, where the James River is five plus miles wide. Nevertheless, there were straight flat stretches and many steep ups and downs as the road followed the Piney, and it was spring; sunlight shot through the tree canopy creating columns of light and turned young leaves bright lime green. There would be an occasional tent pitched beside the rocky stream, but other than those, there was no sign of other people in the forest. When we arrived at my friend’s cabin and entered the small dwelling, the first thing I saw was a sign hanging on a nail that proclaimed—These Are the Days! On future trips to the National Forest, I came to better understand and appreciate the truth of that sign’s statement.
Nightshade
	I saw this sky in Bar Harbor, Maine.  What  caught my eye was the thin slice of cool blue in the top left region of the sky which stood in sharp contrast to the overall warmth (hotness really) of  the sun setting over the water and land.

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