As always, the origin of my work comes from imagination which I then use to create a good compositional landscape, still life, etc. It is not so much the subject, but how we paint it that really matters. Most anyone can draw or paint just about any subject with technical training, but an artist paints from their heart and soul and gives the viewer something they have not seen or felt before, because we interpret not render what we see or imagine. We get to the core, or as I prefer to say, the essence of our subject. I sometimes work for hours just to get the correct harmony of landscape, especially the transition of one area of color to the next in order to project just the right mood or feeling. We know we can never get as good as we aspire to be but we get better with each passing year because we simply cannot stop the insatiable appetite to not only create but to perfect our techniques.
The natural world has always grounded me. In nature I find balance, pattern and mystery. Shapes stand out while I am viewing a vista or studying the earth at my feet. Often I am compelled to examine further.
Among twisted roots, stones or leaves and in decaying or emerging plant life the spirits of other lives make themselves known. Nature becomes a magical place. Images are discovered in sunlit spaces or shadowy places. They can be fleeting. I try to hold onto what I sense in those moments and the feeling a place evokes.
My wish is that my art encourages the viewer to look more closely at nature and create his or her own memories.
The Midwest is close to my heart; after all, it’s the place where I’ve lived all my life. The heartland of this country possesses such uncomplicated and straightforward beauty. This simplicity of the these ever changing vistas resonates with me the way music does.
Beginning a painting from the initial inspiration is one thing, but to carry that inspiration through an evolution of risk and change is quite another. I must work until that painting stands alone and finally has something to say.
Taking “cues” from nature, my color choices have become intuitive, a subconscious response to what I see – true too for my studio work, where there is more latitude for experimentation and invention. I want to layer the painting with interest so a viewer can relate to the time and place, color relationships, abstraction, and brush work, and see this as the largest statement possible contributing to the ongoing discourse of contemporary painting. I paint with an orchestration of form and color that makes the separation between representation and abstraction nearly indistinct.
Caught up in an ever-hyper-busy-world, we seem to be drifting away from something very precious, a bond with the land that’s ages old. My hope is that my painting might somehow rekindle an interest in what wonder surrounds us every day and yet goes unnoticed.