"The paintings I chose for my AOPR exhibit at the Post Office represent a good spectrum of my
work. I’ve included skyscapes, landscapes, and seascapes. Even though several of them cover
imagery of vast amounts of actual space, the paintings feel quite intimate to me.
My intimacy with them comes from how I feel while I’m experiencing the space as a participant
and observer. Nowadays I rarely paint “en plein aire”. Instead I linger in the area that’s captured
my attention in order to truly feel the air and light around me, and experience the magic of this
"I’ll photograph the area with a few minutes of intervals between each shot assuring that I get a
comprehensive view of what’s going on atmospherically. The light, the air, its color, and the
shapes into which it morphs, is what I want to capture.
"I follow a classical process of preparing my canvasses with a gesso ground and then an overall
tint that matches the color of my palette. This assures that color mixing will be as true on the
palette as it is when applied to my painting surface. I then block onto the canvas all the major
shapes and dark areas producing a fairly geometrical layout. Then the fun of problem solving
begins. Every instrument is fair game - brushes, sticks, cloths, my fingers, and sponges are
well used. What do I give, and what do I take from the canvas? What does the image reveal to
me, and what do I do about it?
"A wise drawing professor of mine once said…”Remember, sometimes reality works against you!” I’ve never forgotten his precious advice. By following it I allow plenty of room for my magic to begin and to take over the work.