My paintings speak for me my concern about the intrusive nature of human presence in the natural landscape, and the inevitable need for their coherent existence.

I try to paint en plein air. By being there I can experience the honest response from what is present. In the winter, I observe the most exciting exchange of forms between the cityscape and the natural landscape. As the trees wither and loose their colours, the urban structures stand out as a dominant presence. Very soon the snow falls and smoothens the rigidness of the concrete corners, but quickly human beings and the machines make new marks on top of the organic snow.

The tension between these different forces is like one in the painting process, where the marks are laid, scraped, and/or buried.

My paintings give an impressionistic impression, but I give little regard to the change of light, and the middle-class lifestyle. Overcast days are my favourite days, particularly with fogs. The subtlety defeats the saturation of the modern steel as David to Goliath with his five stones.