My work shows the mountaineer's perspective often from the summit looking down into the plains below. This kind of view is vast and epic, akin in feeling to the Romantic artists such as Joseph Turner and the Hudson Bay painters such as Bierstadt and Moran. 19th Century writers, explorers, mountaineers and surveyors also had this vast and epic concept of the land. Contemporary work often shows the loss of that innocent, idyllic, and even rapturous vision, but in my mountaineering, and subsequently in my art I am still searching it out.

I have approached this subject in a number of ways...

My work shows the mountaineer's perspective often from the summit looking down into the plains below. This kind of view is vast and epic, akin in feeling to the Romantic artists such as Joseph Turner and the Hudson Bay painters such as Bierstadt and Moran. 19th Century writers, explorers, mountaineers and surveyors also had this vast and epic concept of the land. Contemporary work often shows the loss of that innocent, idyllic, and even rapturous vision, but in my mountaineering, and subsequently in my art I am still searching it out.

I have approached this subject in a number of ways that try to convey something almost impossible to put on a flat surface. Quite often I've used a wide-angle panoramic approach that includes a slight curve to indicate that the scene surrounds the viewer. Most recently I have been working up a diorama that comes out from the wall at the edges and literally does surround the viewer. When focusing on space dropping down below your feet I tend to use a more traditional format.

My paint handling is informed by 30 years of working en situe. In large studio works I try to recapture the freshness and excitement found in plein air pieces done under duress, often in extreme conditions and locations.