My Landscape painting is a physical dance composed of line, color, and the joy of mark-making. I want you to see the paint, I want you to see the picture, and I want you to feel these moments in time just as I did.
As an observational artist, I respect that abstraction is inherent in the art-making process. It is undeniably, a human filter of emotion, intellect, and memory. It is fundamental to understand abstraction as the result of a lived experience. It is filtered through the human mind and reduced by visual limitations. I think it is the very confines of that process that ignite my curiosity and expand the possibilities of a painting.
For me, color and shape are the representatives of light. Light is color and color is light. In the visual language of landscape painting, color is the timestamp of a moment. It tells us the time, location, and physical conditions of the experience. This body of work is the continued exploration and collection of moments.
It is mark-making that leaves the undeniable thumbprint of the human touch in a painting. When viewing work, the marks themselves give each piece its rhythm, and also a collection of paintings, when viewed together, synergy. Manipulation of the physical texture of the paint remains distractingly exciting to me.
The studies in my small work are controlled, and always too tight - the larger work allows for opening up those tight compositions in a newfound observation of space. The play of making small work and alternately, larger work, produces a more gestural, energetic paint application. For me, the scale provides different but necessary answers to the same questions.
So in the dance of line, color, and mark-making, I am mindful of their significance to each moment I attempt to capture, in each picture I try to hold, and in every painting I make.
As an observational artist, I respect that abstraction is inherent in the art-making process. It is undeniably, a human filter of emotion, intellect, and memory. It is fundamental to understand abstraction as the result of a lived experience. It is filtered through the human mind and reduced by visual limitations. I think it is the very confines of that process that ignite my curiosity and expand the possibilities of a painting.
For me, color and shape are the representatives of light. Light is color and color is light. In the visual language of landscape painting, color is the timestamp of a moment. It tells us the time, location, and physical conditions of the experience. This body of work is the continued exploration and collection of moments.
It is mark-making that leaves the undeniable thumbprint of the human touch in a painting. When viewing work, the marks themselves give each piece its rhythm, and also a collection of paintings, when viewed together, synergy. Manipulation of the physical texture of the paint remains distractingly exciting to me.
The studies in my small work are controlled, and always too tight - the larger work allows for opening up those tight compositions in a newfound observation of space. The play of making small work and alternately, larger work, produces a more gestural, energetic paint application. For me, the scale provides different but necessary answers to the same questions.
So in the dance of line, color, and mark-making, I am mindful of their significance to each moment I attempt to capture, in each picture I try to hold, and in every painting I make.
