The world and everything in it is objectively neutral: neither good nor bad, right nor wrong. We tend to interact passively with its colors, spaces, shapes and textures in our daily lives. The observational painter is forced to look actively and analyze these features of the optical world and to communicate his subjective experience through paint. In doing so, he unavoidably fuses his feelings with what he sees.

What was inert and detached, when confronted by a human consciousness, becomes utterly transformed. Objects become metaphors, colors represent moods, spaces contain memories, textures and contours imply motion. Reality is suddenly filled with vivid sensations- joy, desperation, fear, contemplation, celebration. This infusion of life and meaning happens not because the inanimate is painted, but because it is seen and experienced. The painting is just the proof. It is the record of a moment in a transient life; the intersection of a thought and a place, never to be repeated.