Light doesn’t sit still.

It moves. It softens. It shifts a whole scene without changing the subject. That’s what draws me to it—and what makes painting it a challenge I never quite want to solve.

As an impressionist oil painter, light is my main subject, even when it’s not what you see first. Whether I’m painting a horizon, a single lily, or the suggestion of a shoreline, I’m always chasing the moment when light transforms what we thought we were looking at.

Light Is Motion

I don’t think of light as a “thing.” It’s a movement—something felt more than fixed. A cloud passes, and suddenly the landscape becomes more dramatic. A bloom turns, and what was warm is now cool. In my work, I try to reflect this motion by layering paint with instinct and openness.

My brushwork is often a blend of vigorous gesture and quiet blending, allowing contrast to build organically. I’ll pull light into a piece by allowing darkness to shape it—what you leave out becomes just as important as what you put in.

“Painting is motion to me. It’s a dialogue between shadow and light, and between memory and presence.”

Color Follows Light

I rarely work from static reference images. Light changes too quickly for that. Instead, I rely on observation, memory, and an intuitive response to color. I let the palette shift throughout the process—adapting as the painting finds its own atmosphere.

In pieces like “Horizon Mist” and “A Perfect Day”, I start with a sense of light quality—misty and diffused in one, warm and dappled in the other. From there, everything else responds.

Working With Light in Commissions

When I work with clients on commissioned paintings, light is often a part of the conversation—even if they don’t know it yet. They might describe a favorite time of day, a photo with a certain glow, or a memory where the color felt different. I ask questions to understand not just the look, but the feeling they want to hold onto.

From there, I begin layering. My process is organic, collaborative, and rooted in motion—never overly sketched or predetermined.

Featured Works That Explore Light

• “Swimmers Lane at Sunrise” – Captures morning stillness and light just beginning to land
• “Midnight Lilies” – Light emerging through shadow; a bloom that glows without sunlight
• “Sea Glass” – A coastal palette built on translucence and softness

Each of these works uses light differently—sometimes softly, sometimes as a kind of bold contrast. But in all of them, the goal is the same: to create something that feels alive.

Final Thought: Painting Light Isn’t About Precision

It’s about awareness. It’s noticing when something has shifted—sometimes just for a moment—and holding that feeling long enough to paint it. I don’t always get it right. But that’s the beauty of painting light: it’s always moving, and so am I.

Want to See More?

Explore my latest impressionist oil paintings or learn more about commissioning your own piece. Whether it’s a memory, a mood, or a place that holds light for you—I’d love to help you hold onto it.