PHILOSOPHY
Living things have always been exciting for me. My eye is constantly drawn to nature’s microcosm where I am in awe of its magic and interconnectedness. In order to capture this reality, I’ve developed a system over time of integrating texture and colour combinations to create a feast for the eye.
Styles and Processes
Realistic abstract:
When I have a subject in mind, I try to view it in nature and then study a multitude of photographs. From this study I create stamps, which depict some aspect of the subject and/or its environment.
Working on 140 lb. 100% cotton paper, I sketch my subject, then lightly paint its outline and major shapes in a mixed black. Then I pour acrylic medium over the paper and brush it around. While wet, I pour fluid acrylic medium over the paper and brush with a mind to where I want specific colour combinations. Using the stamps I created, I stamp and restamp over the surface to create an appealing effect. After drying, I finish painting the subject and the stamped surface until I’m happy with the results.
Abstract:
Working on 140 lb. 100% cotton paper, I pour acrylic medium over the paper and brush it around. While wet, I pour fluid acrylic medium over the paper and brush with a mind to where I want specific colour combinations. Using a selection of stamps, I stamp and restamp over the surface to create an appealing effect. After drying, I use a variety of techniques until I’m happy with the results. Depending on mood, this process can vary in any number of ways.
Expressionistic:
I first prepare the canvas by painting a foundation using the reds and yellows from my palette. I use broad strokes, mixed paint, and lots of water. Working plein-aire or from photographs, I study the scene extensively. I sketch the major shapes and lines in a mixed black. I then paint what I see, constantly moving my eyes from the subject to the canvas and stepping back. It’s interesting how my mood and the subject determine my painting sequence in terms of foreground, background, lights, darks, etc. My colours are determined again by personal choice and mood, although I pay careful attention to lights and darks. I find that painting on location is challenging but excitingly spontaneous. Photographs and sketches are used to enhance the final piece.
Doodles:
Unconsciously, I select brushes and paint and begin moving my hand over the paper. Shapes form and meanings arise. These may be enhanced with fine brush strokes and/or penned ink.
