I am a painter working in oil – mostly on canvas. My subject matter is landscape. My landscapes are sensuous renderings of organic forms in search of an interior vision wrought in the vastness of the natural world. I try to go beyond what my eye’s camera lens sees and transform my unique vision of place, and my emotional response to it, into a fresh perspective. I am attracted to organic shapes, textures and forms within the landscape that manifests itself in vivid color and dramatic composition.
Lately, I have been moving toward landscape that is non-specific – evoking a mood rather than a particular place. I want viewers to be reminded of their personal memories, dreams, emotions or nostalgia for locations.
The activity of painting – that is using shape, color, value and texture to translate my vision of a place – is a remarkable and energizing process. I attempt to reorder the objective world and paint my emotional responses. There are many truths about a place or a thing and one image cannot portray all those realities. What we “see” is created by the brain using data sent there by the eye. This allows for many influences to affect our perceptions of reality such as our individual nature, our emotional state and intrusions from the outside.
In my work I try to overcome the restrictive confines of my eye’s camera reality and allow other realities to come forth. The realistic image projected from our eye to our brain is not the only true way a place or thing looks. It is but one representation of nature. My work is yet another representation of that nature. “Really seeing” beyond the camera image of the eye can cause the world to become an extraordinary place.
I am often asked if I paint from photographs. The answer is no – and yes. Most often, I do a thumbnail sketch on site and bring it back to the studio with my vision of what I want to convey. Occasionally I will refer to photographs (my own or in reference files) in order to understand a particular land form or attribute of landscape. Sometimes I do no sketches at all, but the painting evolves from the memory of my emotional response. In most cases the paintings take on a life of their own which transcend what my eye’s camera saw.