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These images are largely about my response to the geography
and flora of where I am painting, maybe some history, too.
In that sense, the paintings may say more about my state
of mind at the time than the details depicted in the final
view. Most of these images are of real places, at least
my version of these places. For me, certain ideas are better
understood using visual language. With color, shape, value
and surface texture, landscape images can clarify natural
relationships. There are moments and scenes that pass so
quickly, we hardly are conscious of them, yet they may shape
the lasting memory we take away from a place or experience;
these often become the motifs in my paintings. A moment
in time or a color, a particular shadow pattern, hue of
the sky, texture in the foliage, reflections on a body of
water, dissolving clouds or some other small part of the
landscape may be the main idea for the final depiction.
Most of the images that I think are successful have been
ideas I have been contemplating for weeks or months.
I particularly enjoy the challenges of painting outdoors,
en plein air, where bugs, weather and details bombard you.
Few artists are willing to tolerate the conditions. But
untouched remnants of terrain are fading. For me certain
ideas are more clearly stated without words. The challenge
is to capture a sense of place, time and emotion with an
image.
Since time and changing conditions preclude painting everything
in front of your eyes. Leaving certain things out of the
painting is equally, if not more important than what is
included. I am attracted to untouched landscape remnants
and atmospheric drama, especially the mood of shadows near
dusk or early morning. In some ways my paintings are visual
meditations on the motifs I’ve chosen. I lose track
of time when I am out there watching the shadows move and
the colors change, just ask my very patient wife. “
I’ll be back by 1 o’clock” often means
getting home by dark.
Studio painting, on the other hand, offers a different
set of challenges that are no less daunting. I rely on field
studies, memory, pencil or charcoal sketches and some photos,
though the latter often contain much confusing and misleading
information.
Largely self-taught, I am fortunate to have such encouraging
family and friends. As luck would have it, I live near several
artists of national stature who have been very generous
with their time and wisdom.
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