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 a crescent formed by the path. It is this dynamic, the emphasis on motion, that I’m naturally drawn to.Continue reading
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.”