"I live in the Hudson River Valley, home to the landscapes of the sublime depicted in perhaps the first true American school of painting. As a photographer, I feel no need to revisit these once grand vistas, or to seek out the majestic mountain ranges and rushing rivers of the American West that provided a more modern notion of the sublime. It is, rather, the common wooded landscape of my day to day life that captures my attention. And so, many of my images are from an area of about twenty miles from my home, many of these, from an area within a twenty minute walk of my back door. Others are from more distant places, but places where I just happen to be for one prosaic reason or another, places that are generally more ordinary than spectacular. Some images are of old woods but not woods of any particular note; some are of young woods at the edges of cultivated fields others are of trees along trails in managed woodland areas; and still others along walkways in well maintained parks."

"By photographing these treed landscapes with a purposefully oversized pinhole or a radically refocused lens, however, I capture them as they are not often seen. The images are firmly grounded in the natural world, a particular place, a particular season a particular time. But by obscuring detail, only the strongest brush strokes emerge: the images become sketches with light, literally and figuratively. They float between there and not there, dissolving into abstraction and reconfiguring themselves into recognizable form. They are the trees seen through eyelashes of mostly closed eyes on bright sunny days: the trees seen through heavily falling snow; the trees of memory; the trees one might still see in the mind's eye before slipping from conscious life."

"The very soft-focused, painterly images are printed digitally on Japanese Kozo paper, with the barest hint of color in certain values, reminiscent of traditional split-toned photographs. The large-scale prints are infused with encaustic medium, making the delicate paper at once both more translucent and better able to stand on its own. Through the depiction of a succession of seasons, the work echoes life's temporal cycles. It succeeds when it provides fragmentary glimpses of the beauty that exists in the everyday natural world - when it consoles, despite the awareness of the transience of this beauty."