The cultural and aesthetic banner under which I trained might best be summed by the term "painterly". I studied at a school that carries on that tradition, I turn to artists that care about figuration, perception, and representation. The painter and writer Fairfield Porter traces a painterly path back to Vuillard and Bonnard as a counterpoint to the myriad of isms that cropped up throughout the 20th century. But Porter and painters like him also point forward to a viable representational art that has not completely run its course and many fine painters stubbornly remain on this perennially idiosyncratic trajectory. I work within this tradition, but not in a backward looking, nostalgiac way. As a contemporary painter I am invested in the present and the notion that an objective correlative must be seen between the work and prevailing living circumstances: culturally, theoretically, and empirically. I rely on the dynamic of observation and response and within this framework look to "discovery and invention" in the words of Euan Uglow. I seek discovery and invention in rather synthetic formal painterly ideas, chief among them the idea of small c caricature. I paint landscapes, spend a lot of time looking at and responding to the natural world, but in the end my main focus is on the formal discipline and character of painting.