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In my recent work I've been using a whole lot of paint while portraying what are oftentimes fairly traditional subjects. I'm interested in how surface can become a textural part of representational painting, and what happens when it does. The resulting pieces seem to move between abstract fields of color, topographical planes, and recognizable imagery. Up close they celebrate paint for paint’s sake – luscious, colorful, moldable. A beautiful, dimensional material. When viewed at distance, the paintings collect into studies of light, architecture, figures, and landscapes – a transformation that highlights the relationships between raw material, familiar image, and tangible reality.
Nearly all of my paintings are made on-site and from life, whether indoors or outdoors. The smallest pieces are 4" x 6" while the largest ones range up to 120" on a side. Spatulas and brushes are my tools of choice, though occasionally you’ll find me using paper towels, gloves, bare hands, and even dirt.
When painting I'm brought back to simplicities, back to my senses, and in a way, back to life. To surrender scripted plans and just listen and look, not knowing what will come, is a trust-fall of sorts and an act of devotion. On the good days this practice dissolves the excess in my psyche and leaves me clearer in mind and heart. It’s something I believe can translate to others through a finished work.
In a time filled with so much that can leave us far from the subtle pulse of a day, acts of simplification – for me, painting – seem like time well spent. My hope is that by listening when something luminous calls, by partaking in the alchemy of painting and surrendering to an unknowable outcome, something inspiring will develop and eventually touch someone else's heart.
Some days I'm more successful than others. Whatever the outcome, though, I'm grateful for the chance to play with color and light – grateful that I feel pulled to respond to this awe-inspiring world with the medium I know best. It's a labor of love.
Being an artist who lives to paint this world and its natural environment leaves feeling a sense of reciprocity towards all that inspires my work. As such, in addition to choosing the highest quality materials, wherever possible I also prefer those that are socially responsible and environmentally friendly. Examples include walnut oil paints made with renewable energy by a family-owned Oregonian company and Texas-made painting surfaces comprised of Forestry Stewardship Council-certified wood materials.
If you have any questions or are interested in purchasing any of the art on this site, please don't hesitate to contact me.