I am primarily a landscape painter. I paint largely from memory striving to discover the essence of the subject rather than the reality. I want to capture the ephemeral nature of light and a mood that is timeless. Resonant color is the core of my process. I juxtapose passages of saturated color with more muted tones and through the application of many layers of pigment and glaze I try to create subtle color and value shifts that provide a degree of luminosity.
For this show, I again concentrated on painting an interesting sky that almost alone would give the viewer a sense of place, time of day, temperature, and weather. In most pieces, the foreground is almost an afterthought. In a few, I explored the idea of reality versus the abstraction of memory through the use of “trompe l’oeil” elements that focus attention on the remembered landscape within. When one looks at the sky, one sees refracted light and reflected colors not the reality of colorless air and moisture. Is, therefore, a painting of a landscape or skyscape “real” or is it more like an abstracted memory or a dream of reality?
Before I started to write this statement, I spent some time looking at what I had produced. As always, I had begun each piece with a general idea of what I was interested in exploring. As usual, I was never certain about where each painting would go. To my surprise, when I looked at the whole collection, I realized that while my intention had been simply to create interesting, evocative pieces, I saw in the cloudy, stormy, tumultuous skies that I had actually been working out on canvas my feelings about these troubled times. I also noticed hopefulness since I had left in hints of clearing skies.
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