I’d like my paintings to give someone an instinctive feeling of sadness, happiness, mystery, or curiosity.
When you’re looking at one of my pictures I hope you don’t need to have any knowledge of me, my life, or the area I live to catch the undertones in a composition.
Sharing the sense of a wild place, where people come and go, and how that past could be felt by others is interesting to me.
Using a variety of paints and tools gives me a way to set the vibe of my artwork.
The most important way I do this is by beginning a painting in a freestyle approach where the base painting will end up being the shadows, highlights, and crags inside the bodies and shapes of the sky, cliffs, and grasses.
Sometimes it’s hard to know where masking shapes should go; what to keep and what to hide. Just like it’s hard to know how much of my thoughts about painting I should share.
I use paper to silhouette ghostly collage leftover shapes of people, animals, and natural objects.
Taping and spraying paint over the first session of brush stokes makes hard and soft edges. Mistaken breaks of form and application accidents have an underlying quality of feelings for me.
The way I’m painting is distinctive. The people, places, and things I choose as subjects all carry an aura of hidden stories.
When things look one way, but could be doing something else.
If a landscape can hold memories of movements unique to these bodies; can I generate new feelings in old places I’ve been?
This is kind of a rambling post about thoughts I’ve been having in my little painting room.
It’s hard to tell if people who see my paintings feel any of these things I’ve described. But this is the goal for now.
A series about exploring plus an art show