I make paintings from scratch, putting together the frames, stretching the linen, making gesso and some of the paint. This process allows time for contemplation before image making and is a reaction to the Internet age of immediate access. Controlling the surfaces of my paintings from the substrate to the paint itself allows me to get close to the physical reality of a painting, and to create work that glows, that becomes a simulation of the sensation of existing in the physical world. Specifically, the use of florescent pigments within the first layers of a painting allows this sense of light to permeate a scene. Recurring images are rainbows, moon-bows, and other phenomena of light as perceived in the sky from the ground. The rainbow has become a significant recurring symbol, and feels like either a beacon of hope or a harbinger of things to come, as the political landscape continues to shift and the natural world as we know it vanishes. The moon rising and setting, too, has been a steady companion in recent years, as I travel about my daily life. I find myself taking note of the phase of the moon, the light reflecting from its surface creating moon-bows through cirrus clouds. To paint the clouds, or a rainbow, is to paint air and light itself. The invisible made visible. Like conjuring into being a physicality that was more strongly felt on the skin than seen with the eyes.