Through my work, I strive to create a dialogue with painters that I admire and continue to return to for inspiration. How can one not want to take on Manet when they see the love and tender violence of his “last flowers?” How can a painter not want to engage Cézanne—his apprehensions and innocence? Or Antonio del Pollaiuolo or Guido Reni when confronting the human form? Or the stolid rhythms of Giotto? Or the strength and austerity of Piero? Or the subtle humor of Degas? Or the temporal imbrications in Balthus? Or the isolation of Edward Hopper? 
I imagine that I will continue to use my own artistic practice as a way to be in conversation with painters such as Morandi, Fairfield Porter, and Jane Freilicher, or the teachers that had profound influences on my work: Lennart Anderson, Wayne Thiebaud, Lois Dodd, and Kerry James Marshall. I may fail in my conceits, but I set out to make each painting a love letter to the painters from the past who have inspired me, but even more so, to my friends who paint.
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