ABOUT MY ARTWORK
I came back to painting at a time when some people think about ending their productive lives. I have created my life several times, and this has been the best so far. Drawing and painting have permitted me to open my inner life and my connections to the world and to the people and places I love. I affirm life and celebrate beauty, but in 2007 my muse asked me to show the contrasts in the world: the modern sublime, where beauty and terror combine. My work continued to tell about the awe and wonder the eye can see, but then looked further afield to enter the ranks of artists who speak out about the world. That includes issues of war, peace, and climate change.
I have been engaged with modern issues of color and composition within a contemporary realist context; the paintings say "look at what I see." And despite commercial pressures I still refuse to allow or make reproductions of my art. They are original works in every sense of the word, and my collectors can rely on that.
I painted because ...I was infatuated by the look of the real world and because I have been thrilled by the process. I loved the feel of the brushstroke; and even liked the washing up after a session. I have used strong composition, color, and line. There is movement, intensity, energy, and an edge that reflects my strengths and my unique "take" on the world. But now it is time to rest.
I became enamored of acrylics when I discovered what I could do with color on color, with glazing, and with quick repair. I liked to work with a basic palette, but I premixed the particular hues, values, and saturations I wanted for a specific painting, adding and changing as I painted.
After finding that plein air (outdoor) painting did not suit me, I developed a way of painting in which I used my camera as a sketchbook. I created the composition, sometimes combining elements from several photos. Once I decided on the proportions I translated them to the size and shape of the canvas. Recently, news photographs dealing with war and climate change have become models for the elements of some of my paintings. I acknowledged the photographers whose works inspired me when I could find their names.
I relied on color theory and my own instincts to tell me what to do. I might go back again and again while I was working on a piece until it captured my vision. I remained a representational painter because the beauty of reality, no matter good or bad, held my attention. While my subjects cover a wide range of images, the paintings are unified by my eye, as beholder. I am pleased that some of my paintings are described as beautiful, and that people sometimes say "Wow."