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A solitary figure stands at the water’s edge beneath an immense field of silver light. The breaking wave forms a dark boundary between the luminous ocean and the quiet human presence on shore. What drew me to the scene was the relationship between these elements. The person occupies very little of the frame yet gives the surrounding space its emotional scale. I wanted the sea to command attention while allowing that ordinary human moment to remain significant. My sensibility is influenced by Romantic painting, particularly Caspar David Friedrich’s placement of figures within expansive landscapes. Here, the figure offers a point of entry into the photograph without prescribing a story. I hope viewers can bring their own feelings to the scene: solitude, wonder, vulnerability, or reassurance. In the final image, I emphasized the cool silver reflection and preserved the weight of the darker water. The restrained palette and broad horizontal bands support the sense of stillness, even as the wave breaks. For me, the photograph holds two experiences together: the ocean’s apparent immensity and the intimate, familiar act of pausing beside it to look. Part of Rear Window, an ongoing photographic series made from my kitchen window in Santa Monica. The Small Man and The Great Sea — 12 x 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/c08c18d9-63e9-48c0-87eb-960d15a5178a/Arcs+October+6+2026.jpg Photography "Arcs" I took this photograph in Santa Monica, just north of the pier. While correcting an imperfection, I stumbled on a way to move pixels around—to paint with the shapes and colors already within the photograph. I began smoothing textures and reshaping the landscape until it felt like another world. There was no plan at the outset. As often happens when I compose, photograph, or paint, something presents itself—a shape, a sound, a possibility—and I follow it. The work takes form through that pursuit. It feels as though it is already there, and I’m trying to catch it. “Arcs” takes its name from the curves that recur throughout the image, connecting the sky, the bird, and the small details of life on the beach. Arcs — 6 × 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/93b5ca8a-53b7-4be5-b92b-b0f3154c3a10/SunsetPierLovers_oct+24+copy.jpg Photography "Tiny Dancer" Santa Monica’s sunsets never cease to move me. On this evening, I was taking photograph after photograph, letting my eye lead and leaving the discoveries for later. Only afterward did I notice the couple embracing and dancing at the shoreline, the last of the waves brushing their bare feet. Then I saw how the two gulls above them seemed to echo their embrace. I had been photographing the sunset, but the picture held something more intimate. It was all there; I just hadn’t seen it yet. Part of "Rear Window," an ongoing photographic series made from my kitchen window in Santa Monica. Tiny Dancer — 6 × 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/ada175cf-2a3c-4b94-b57e-37ebe3f10ba2/Haystack+Zombies.jpg Photography “Haystack Zombies” Haystack Zombies" began with a photograph I took at Haystack Rock in Oregon. It was misty, and the figures emerging through the haze looked like zombies approaching across the beach. I grabbed my iPhone and started shooting. Afterward, I spent a long time trying to bring the photograph closer to the image in my head. I kept experimenting until an accidental stroke suggested something I hadn’t quite seen before. Then I followed it. Much of my creative work happens this way, whether I’m composing music, making photographs, or painting. I rarely begin with a fixed plan. Instead, I start to recognize something within the work—a mood, a shape, a possibility—and chase after it until it feels complete. Haystack Zombies — 6 x 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/52f57d9d-a218-4297-a371-2ec46eed017b/HangGlider_1_R2+copy.jpg Photography "A Thread Against the Sea" A kite catches the wind beneath a luminous sky on the California coast. Below it, three small figures stand between the open sea and the broad expanse of beach. What interests me is their scale within the landscape. The kite draws the eye upward, while the people give the immense scene a human measure. A narrow line of gold along the shore echoes the warmth in the clouds, crossing the dark bands of water and sand. The title, “A Thread Against the Sea,” suggests that delicate connection: a person holding a line, feeling the pull of something much larger. There is playfulness here, but also the quiet wonder of finding ourselves beside the ocean. Part of "Rear Window," an ongoing photographic series made from my kitchen window in Santa Monica. A Thread Against the Sea — 12 × 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/02fd595b-d155-42aa-bbd3-8b069b0f4a7b/HorizontalCloud_Sept_22_6+x+18+copy.jpg Photography "Horizontal Cloud" I was returning from lunch with Karla, who was stopping by to collect a timepiece I had made for her. An early admirer of my work and one of my most enthusiastic supporters, she holds a special place in my heart. As we walked into my apartment, a stunning horizontal cloud stretched across the horizon. We both reached for our cameras. I later developed this photograph and made it into the timepiece shown on this website, dedicated simply: “For Karla.” Part of “Rear Window,” an ongoing photographic series made from my kitchen window in Santa Monica. Horizontal Cloud — 6 × 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/c5b800ef-1190-4fd3-b079-5b8d90183efb/Broken.jpg Photography “Broken” I took this photograph while living in Washington State, shortly after returning home from a week in intensive care following a life-threatening injury. It was a bleak, cold winter morning, and coming home was harder than I had imagined. I stepped onto the balcony overlooking my backyard and saw that a large limb had broken from my favorite tree. It lay on the ground beneath a covering of snow. Looking at the damaged tree, I thought about how it would continue to live and grow. It would bear the break, but there would be new growth. In that moment, I took some comfort in it. Broken — 6 x 12 Inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/6617cda1-859c-4c23-b181-e48310a47285/East+Van.jpg Photography East Van I lived and worked in Vancouver, British Columbia, for about four years while finishing my work on “My Little Pony: Friendship Is Magic.” It remains the most beautiful city I have ever lived in. The iconic East Van sign became a subject I returned to with my camera again and again. In this version, I pushed the photograph toward something wild and painterly, until the landmark nearly disappeared. Its neon light remains the recognizable thread connecting the image to the place. East Van — 6 × 18 inches https://images.squarespace-cdn.com/content/v1/6845e7c1a52d60234d794f4d/3efc9ad1-4e93-489f-ac20-40579b10242b/HarvestMoon_2+copy+2.jpg Photography Harvest Moon I have nearly completed photographing every full moon of the calendar year. Along the way, I’ve enjoyed learning their traditional names—the Wolf Moon, the Cold Moon, the Hunter’s Moon—and how they connect the seasons to the lives of people watching the sky. The Harvest Moon is my favorite. It is the full moon closest to the autumnal equinox, associated with the light that helped farmers continue their harvest into the evening. Photographing these moons has become a way of paying attention to nature’s rhythms. I believe nature deserves our reverence and respect, and a place in the everyday course of our lives. Part of “Rear Window,” an ongoing photographic series made from my kitchen window in Santa Monica. 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