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Gallery 1Click on the pictures for enlargements and captions. 'It usually takes a matter of a few hours to all day to do a gouache on paper outdoor piece, and then it will sit around for months before I commit it to a large canvas (I usually do them only during the winter months). I like the work to reflect, in some way, the passing of time, the scene being an average representation rather than a snapshot frozen in time. 'I find that period of incubation is important so that the tyranny of the actual scene does not influence the way I depict it. Memory and imagination change things and refine the concept. If I took a large canvas and painted it outdoors, painted it directly in front of the subject, reality would set its own limitations. 'I like the traditional format of doing watercolour sketches first, then doing an elaborated version later. This allows you to fully explore your memory and imagination as it relates to the piece, allows you to elaborate, simplify and anamorphisize as needed. 'The distortions caused by your misperceptions are just as important as the raw data that one could collect by photography. Often, the finished work seems more "real" or believable than the former.' Contact the artist HERE for prices and availability. |
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'I'm neither an Impressionist nor an Expressionist. I don't see them as styles, they are just attributes to the act of picturemaking. Every painting of mine has a bit of both. When painting a subject up close, I use thicker paint to enhance its "objectness". 'When painting something far away, like the sky, I make it as smooth and shining as possible, as that is the nature of sky. I achieve that by using many layers of transparent paint, usually with the side of my hand rather than brushes. It takes many layers of that to bring out the glowing colour that sky demands.' |
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