Process
My landscapes are inspired by my travels and the beauty of our world. I often wield a palette knife, and work alla prima (wet-on-wet) which creates an impasto surface. An outpouring of ideas results in a series of paintings that surround me. The corner of my eye enables me to perceive patterns and broader themes while engaged with a painting. Sometimes it is best to start over or turn it upside down and use the previous layers as the underpainting for a new image. This technique adds depth and texture to the work like a rich life built up over time with layers of experiences. A new and white canvas is exciting, but a used canvas creates a journey with history, randomness, and surprise.
Abstract Work
My childhood exploration with paper and pencil relates to my studio practice today as I continue to use these materials to explore abstract images. All my works are inspired by nature. In contrast to my landscape paintings, my abstractions require a more meditative and prolonged, almost tedious approach to create. A simple form can inspire feeling; from time immemorial, the circle, square, and line have been used to express inchoate yearnings.
Drawn to a bird’s eye view of the world and a universal scheme in which patterns and systems occur, I often use a circle the size of a mustard seed to begin a larger image. It is a metaphor for the person who, seemingly insignificant, matters and contributes to the greater whole. Despite a circle’s similarity to another circle, it remains separate and unique because it is hand drawn individually rather than repetitively copied by a machine. Our humanness equates to our “hand-drawn” quality which expresses the imperfections that add character and beauty distinctively manifested as our own.
Working with contrasting methods is satisfying and more complete. Reiteration in process and vision creates echoes and rhymes that give order and serenity to my body of work. An element of chance occurs as colors, density, and lines accumulate and moods emerge serendipitously.