Crescent Path

Crescent Path

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

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.