Plein air painting is central to my artistic practice. Engaging directly with my subject in its natural environment allows me to develop an understanding and connection that cannot be replicated through photographic reference alone. Working on location—often within the constraints of time, weather, and shifting conditions—produces a sense of immediacy and spontaneity in the work that I find compelling. While not every piece is successful, the insights gained through the process are consistently invaluable and inform the evolution of my broader practice.

Monotype printing serves as a dynamic bridge between my plein air studies and studio compositions. This technique's inherent spontaneity and embrace of chance invigorate my practice, often reintroducing looseness and luminosity to my work.

In this process, I apply traditional oil paints onto a smooth, non-absorbent surface—such as glass or acrylic—before transferring the image onto high-quality, archival paper using pressure. The result is a singular, painterly print that captures the essence of a moment or place.

The monotype's unique ability to encapsulate fleeting impressions makes it a compelling medium for exploration. I relish the balance of control and unpredictability it offers, allowing for the creation of works that are both expressive and original.

In the studio, I refine and expand upon the ideas sparked during my plein air work and monotype practice. While some studio pieces retain a strong visual or conceptual connection to those created on location, the studio environment also offers the freedom to explore more imaginative and introspective directions. It becomes a space where initial impressions can evolve, and where concepts are given the time and flexibility to fully develop.