"I began what I call my Landscape Icon Series in the l980’s as a way to express my commitment to the spirituality of the land."

“The Landscape Icon Series offers me a podium of continuing responsibility to seek out and emphasize our clean areas of land. There is something sacred about the marshes, maybe because they are the beginning of the food chain, maybe because they are deep within me and it is impossible for me to let go.”

“I think of my paintings as a testament to the enduring landscape and an affirmation/celebration of the land brought forth from our indigenous Native Americans as the first stewards of the land.”

"The use of gold leaf in my paintings harks back to the metaphysical icons of fourteenth and fifteenth century painting in Siena and Florence and symbolizes the eternal divination of the land. Besides giving the land a presentation of being precious the gold leaf is used as another vehicle for moving the light in the paintings."

"My paintings which are made of oil, acrylic, gold leaf and wood and canvas are often shaped and function like skins on sleds, platforms for my ruminations on Native American oneness with nature and subtle provocations on our own environmental awareness."

"My titles, such as “Mohegan Spirit Twilight”, create symbolic images which pay homage to the caretaking legacy of our own Native Americans and give heraldic continuation of that same reverence for the future. of our land."

"Documenting in a close-up visceral style -- that is, painterly surfaces with gestural brushstrokes -- I paint site specific pristine wetlands along Long Island Sound in Connecticut and New York and the creek bed marshes of Idaho and varying locations around the country."

"I feel there is a close tie between my films and my paintings. The cinematic movement of light and image I observe within my films became a quest to create this same illusion of movement on my painted surfaces."

"This came about after having painted for ten years. My interest in this film/painting duality began in 1968 with my first film “Water Trees” and continues to the present time with my latest film “Mantra”."

"For over 35 years now I have been experimenting with this illusion of implied movement through changing color and light patterns as the viewer moves past the painted surfaces from one oblique angle to the opposite. As we look at my films, I use a similar painterly approach to my images like my paintings that often are about the landscape or use the landscape as its prime source or emphasis."

"I am interested in paint for its own sake moving beyond the mere image, intending a strong emotional impact for the viewer"