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.
This is a view of East Main Street area next to the original Highway 17 bridge in Washington. Standing at the apex of a bridge gives a good vantage point. It was a cold day and the light was clear and bright. The light was warm too, making the white hulls look very yellow; I think that was my initial objective—to paint those yellow boat hulls, but the architecture too.
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.