Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.

The American house has been TV-centered for three generations. It is the focus of family life, and the life of the house correspondingly turns inward, away from whatever corresponds beyond its four walls.At the same time, the television is the families chief connection to the world. The physical envelope of the house itself no longer connects their lives to the outside in any active way; rather it seals them from it.The outside world has become an abstraction filtered through television, just as the weather is an abstraction filtered through air conditioning.

I am a sur le motif painter, always in-the-field, with a French easel that folds up into a box, with backpack straps on it. Many of the sites I haunt are desolately beautiful. Few other people go there. I am gloriously alone, unmolested, and absorbed in attempting to see what I am looking at.

The salient fact about the decades ahead is that we are entering a permanent global energy crisis and it will change everything about how we live.

A land full of places that are not worth caring about may soon be a nation and a way of life that is not worth defending.

I believe our techno-zealotry will be moderated by sheer circumstance. We will do what reality compels us to do, not necessarily what our fantasies propose.

The skyscraper - any building over seven stories really - will come to be seen as an experimental building type that doesn't work well in an energy-starved economy.