As a visual artist I instinctively observe and record my surroundings through drawing and painting. While being an observer may engender feelings of estrangement, it allows me to focus on a moment in time when a certain light or spot of color caught my attention. Through the painting process I then connect to my surroundings as they take on meaning. I see my images of urban landscapes and the objects that fill them as portraits of spaces I’ve experienced perhaps only fleetingly, but that have nonetheless left me with strong impressions. Often construction sites and the odd equipment filling them captures my interest, as their unfinished states of impermanence seem to mirror my own development as an artist. While on one level I devote attention to the structural details in an urban scene, on another level my subject is deeply personal, and connected to my own feelings in a particular moment. The delibrate contrast I create between areas in shadow and areas in light, or between highly complex structures and emptier expanses evolves from my feeling about a place and my need to communicate this visually.