My work draws largely from two artistic wells, one the vast tradition of nature painting from China and Japan, the other the religious painting and sculpture of pre-Rennaissance and ancient Europe. From the east I borrow some of the forms and techniques of scroll and screen painting, as well as a devotion to nature as my subject. While traditional eastern painting usually conveys feelings of serenity and harmony, the emotion more aspired to in my own work is that of awe or wonder in the presence of nature's inherent divinity. This feeling, of religious awe, is more akin to the traditional purposes of art developed in Europe.

The materials and form of the work consciously evoke the synthesis of these two traditions. I work with both ink and paint, applied in textured and transparent layers, in a style which borrows elements of Asian inkbrush painting, ancient frieze bas-relief, antique fresco, and western panel painting. Many pieces are multi-panel (diptychs or triptychs). This to me creates a sense of the painting as a religious or devotional object (a diptych is formed by the closed doors of an altarpiece; when opened the inner panel surfaces reveal a triptych.) In this way the structure of the painting emphasizes its role as a devotional object, addressed to the divinity of the natural world.