Looking closely at the places we carry.

Most paintings begin outdoors with a small study made quickly, before the weather turns. They are finished in the studio over weeks, when memory has had time to sort what mattered from what was simply there.

I follow the seasons closely — the first frost on the reeds, the late summer haze — because change is easiest to see in a place you know well. For me, painting is a way of paying attention for long enough that a place starts to show itself.