My landscapes are drawn from memories of distinctive places (weathers, times) rediscovered in the act of painting. Our memories of landscapes are compounded and distilled not just from a myriad of visual impressions but also from other sensory aspects: the temperature, the feel of the air and of wind and rain. They are further conditioned by our emotional state, whether rushed or contemplative. In these paintings I try to express the experience of being a part of nature. To put it another way: I try to express how much our sense of place comes not from the disembodied eyeball of the camera, but from our movements, both emotional and physical through it.

These landscapes are not only responses to remembered places and times, they are also informed and inspired by the rich affinities of landscape and abstract painting—a heritage stretching back more than a century. It is important to me that these paintings retain a certain ambiguity as images and objects. I want them to insist on their materiality, compounded of paint and gesture, tone and hue. My aim is to combine the greatest possible freedom with the most delicate restraint.