I’ve been working on The Ocean Series for more than a quarter of a century. I guess you could say that this conflation of a traditional marine sunset with a color-field painting, something that originally crossed my mind sometime back in 1978, has turned out to be a fairly fertile idea for me. Call it a post-modern approach to the color-field tradition if you like, but I’m not trying to deconstruct anything, fit into any category, or prove any theories. The ocean, with its infinite variety and constant flux, is a motif that never ceases to fascinate me; and to say that this image of the far horizon and the dying sunlight has broad metaphoric powers would be to belabor the obvious. My two greatest influences as a painter have been Mark Rothko and Claude Monet; in a way, my paintings are only a kind of simple-minded formal synthesis of the two. At least, I hope they’re that good.