Crescent Path

BlogOde To Edward One of my favorite ways to compose is from a high vantage point, like from a bridge, a third floor balcony, or as in Crescent Path, from atop a dune. In addition to this, and the juxtaposition of the beach houses, what gave this scene life is the strong swooshing shape of…

Ode To Edward

BlogOde To Edward I connect with Edward Hopper’s work. There is a certain feeling of detachment in them, detachment from whatever is there–a figure, an interior. In the case of his House By The Railroad it is a house separated from us by a railroad track. I’m not sure my subliminal intentions were the same…

The Soft Side Of Paradise

The Soft Side Of Paradise 36x36x1.5 acrylic on canvas

I was taking a video course in art school and I made a “short”, about 3 minutes I think, which consisted of an old house on lifts, about to be moved. I come back to this theme quite a bit. Even when I paint a condo on the beach, like in The Soft Side of Paradise, there is more than material to these works, I’ve discovered. It’s a feeling I have, of brooding maybe, I’m not sure exactly how to say it.

I think about Wyeth’s painting Trodden Weed, how his imagery was more than subject–it was psychological. My architecture is a reflection of something much deeper than mere brick and stone, wood and vinyl.

I try to figure out what I’m really after once I finish a piece. It’s not something I think about beforehand. I want the imagery to come forth naturally, without effort, and with it comes everything that I am. In my artist’s statement I say it also…

“I respond to a feeling that grows out of my response to the light, colors, contrasts–by all that is experienced of a scene. My subjects, and how I present them, reflect inner conditions. I choose them because of how they make me feel; it is not a cognitive process.”

See also my post The Real Vision on The Painter’s Tongue.