Before a painting begins, there is always a moment of listening.

ABOUT


My work has never really been about making pictures. It has always been about learning to see.

Whether studying physics, walking along the coast before sunrise, sitting quietly in my studio, or painting from life, I have always been fascinated by the invisible relationships that connect things—light, movement, atmosphere, memory, and the quiet moments that often pass unnoticed.

Painting has become my way of exploring those relationships.

THE STORY

HOW I ARRIVED HERE


Long before I painted professionally, I studied mechanical engineering.

I was captivated by equations because they described nature’s invisible forces, painting pictures with universal symbols and numbers. They reveal the hidden architecture of the world—patterns of movement, balance, energy, and light that quietly shape everything around us.

Painting, I later discovered, became another language for exploring those same invisible forces.

While the tools had changed, the questions had not. I was still searching for the patterns that connect things—the balance between structure and freedom, science and intuition, the visible and unseen. That understanding continues to shape the way I see and create today.

there is always more to learn . . .

THE ETERNAL STUDENT


Once I understood that painting could ask the same questions engineering had, I wanted to learn everything I could.

For more than fifteen years I sought out artists whose work carried a depth I admired—not simply beautiful paintings, but a lifetime of understanding behind every brushstroke.

Among the greatest influences on my journey was Richard Schmid.

Working alongside Richard, I helped in the expansion process of Alla Prima – Everything I Know About Painting and later authored Alla Prima II: Companion, exploring subjects that fascinated me just as much as painting itself—from the chemistry of traditional grounds to the alchemy of light.

Those years taught me something unexpected.

Mastery isn't a destination.

It is a way of remaining endlessly curious.

Looking back, I realize the greatest gift wasn't simply learning how to paint. It was being welcomed into the company of artists whose generosity, integrity, and devotion to the craft became a lifelong example.

Working alongside Richard shaped far more than my paintings. Those years influenced the way I think, the way I teach, the way I continue to learn, and ultimately, the kind of artist—and person—I hoped to become. They reminded me that knowledge is meant to be shared, that craftsmanship is an act of generosity, and that the pursuit of beauty is a lifelong conversation.

For Richard's friendship, mentorship, and example, I will always be profoundly grateful.

WITH GRATITUDE

FOREVER CURIOUS

before the brush


I don’t remember deciding to become curious. I simply don’t remember a time when I wasn't.

Before there were equations . . . before there were brushes . . . there was simply wonder.

Whether I was turning over stones at low tide, asking impossible questions, or pretending to be a Jedi along the shore, I wanted to understand how the world worked.

Looking back, I don’t think that curiosity ever disappeared. It simply kept finding new way to express itself.

Today I still feel, in many ways, like that same young explorer . . .

Still wondering . . . still listening . . . still that same young Padawan in training . . .

wonder needs discipline

THE PRACTICE


Wonder is beautiful.

But without discipline, it rarely becomes mastery.

As my curiosity grew, I found myself drawn to practices that demanded complete attention—not only painting, but movement, kung fu, gymnastics, breakdancing, and breath.

Each taught me something different about awareness, each became another way of learning to see.

I became fascinated by practices that trained the body as carefully as painting trained the eye. I learned that the body has its own way of understanding . . .

Patiently . . . One repetition at a time . . .One breath at a time.

A FAMILY OF MAKERS

DETAILS MATTER


Long before I understood painting as a profession, I understood what it meant to make something with care.

My father was a master craftsman. He built custom frames by hand, and nothing left his workshop without his complete attention. Every joint, every finish, every tiny detail mattered—not because anyone else might notice, but because hewould know. He taught me that craftsmanship is an expression of integrity. The unseen details deserve the same care as the visible ones.

Watching him, I learned that excellence isn't something we perform for others. It is a quiet promise we make to ourselves.

Today, that lesson still guides my work.

The backs of my paintings are finished with the same care as the fronts. The surfaces hidden inside a frame receive the same attention as those placed on display. The handwritten notes, the archival materials, the way a painting is wrapped and presented—none of these things are afterthoughts to me. They are all part of the work.

Paying attention to the smallest details is, in many ways, an act of reverence.

It is a way of honoring the materials.

Honoring the craft.

And ultimately, honoring the person who will one day live with the painting.

My mother painted.

She taught me something equally important—that color could hold memory, that light could tell a story, and that beauty was something worth paying attention to.

Our home was filled with books, paintings, tools, sketches, lumber, pigments, and conversations about making. Looking back, I realize I inherited far more than artistic interests.

I inherited patience.

I inherited craftsmanship.

I inherited the belief that ordinary materials—wood, linen, paint, and paper—can become something lasting when shaped with care and intention.

Making wasn't simply what my family did.

It was the language we spoke.

Still wondering . . . still listening . . . still that same young Padawan in training . . .

OBSERVE.

LISTEN.

CREATE.


“Every work of art is built one brushstroke at a time, and one breath at a time. To honor the creative spirit is to be mindful and gracious toward the journey of the process.” – Swatland

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Treasures for the home & Studio

Exciting things are happening at Swatland Studio! We’re thrilled to share that the Blue Heron Field Notes Journal & Sketchbook and its companion Field Course have taken flight! Ordering is now open Order here.

Heron Field Notes Journal & Sketchbook
with Accompanying Course

An exquisite dual-page journal to hold your dreams, inspirations, sketches, and reflections— paired with a self-guided course to gently lead you into deeper presence, observation, and creative expression.

Connect with nature & refine your observation skills. Observe. Listen. Create.

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“the object isn’t to create art, it is to be in that wonderful state which makes art inevitable“ — The Art Spirit

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Swatland

[noun]

1 where Curiosity and Imagination dance along the water’s edge

2 a part of the shore of an ocean

“if you will stay close to nature, to its simplicity, to the small things hardly noticeable, those things can unexpectedly become great and IMMEASURABLE.“ — Rainer maria Rilke