Space is Everything

 The following are some images which probably illustrate my contradictory nature. The first two are images I did during my graduate study at Ohio University in the early 90's. My instructors were mostly representational landscape painters whose work I admired, despite the difference in my own work. I was determined to establish a bold presence with my work, and as a result one of the choices I made was to work on large format pieces. Not only did they stand out when exhibited but demanded commitment on me to create them. They were like environments that I surrounded me as I created them, and they required a physical involvement from me which was frustrating, yet cathartic. I also created these images in a studio not much larger than a standard bathroom, and often it was a struggle to get them out the door after I made them. The second two images were done in the last few years. I live in New York, where I could explore a rich diversity of abstract and cutting edge art. I also converted my garage at home to a studio that was spacious enough for some large work. Of course, with all of these resources at my disposal, what do I do but begin painting relatively small representational landscapes. My love for creating art has not wavered, and I feel strongly about all the work I do. However, I recognize that I never seem to see what would be obvious to others and as a result may not seem to be "at home" wherever I am. Maybe that's the constant search.

“Pursuit”(acrylic on paper 82” x 48"”)

“Moonlight Walk”(mixed media on wood 51” x 72"”)

“West End”(acrylic on paper 16” x 20"”)

“Moonlight Walk”(mixed media on wood 17” x 13.5"”)

Summer's here, and I miss the winter

Now that the weather is getting warmer, it would seem that the time is right for active plein air painting. Not so for myself, as I am more likely to go out during the colder months. The reasons: One, there are less people at the sites I wish to paint, two, I usually start sweating as soon as the temperature rises above 60°, and three, the most important one, NO BUGS! Anyway, here are just two of the landscapes done during my favorite time of year.

"Farmington Woods Creek" (oil on canvas)

"Winter Dusk" (oil on canvas)

Latest Work

This latest set of paintings are the result of seeing the work of Lynn Boggess at the Lines and Colors blog. I found his paintings really inspiring, and they made me re-connect with the days when I studied painting at the Maine College of Art in 1984, where we used painting knives exclusively during the early part of the year. I started using again at Ohio School of Art where I was working on abstract paintings. As a matter of fact, I still am using the same knife I bought in Ohio back in 1993. It is a difficult tool to master because the initial application of paint is so direct and striking that it is hard There is a purity of color that can be achieved when painting with a knife that is very different than that done with a brush. The “creaminess” of the paint really shows, and the intensity of the color is strong, which is partly due to its layering on the paint surface. Of course, these are the things I found in Boggess’ work. I have yet to get to that point, but these pieces attempt to bring that forth.

““”Freeport Marsh””-2014-oil on paper

““”Brookside”-2014-oil on canvas

New Year, Old Work

The first post of the new year is an old painting, but since I have no new photos of winter themed work, I wantted to post this one. It is of the Farmington River in Farmington, Connecticut, acrylic on paper. This is kind of a small piece that contains more detailed brush work than some of my other pictures. I wanted to make it seem cold and tried to capture that late day winter sunset when the temperature really starts to drop.

Icy River-2011 8x10" Acrylic on paper

Keep Painting

While I don't really like to post private information, I wanted to post this image, which unfrortunately requires information. My father had just passed away two days before I went out and painted this watercolor, and I was at that sort of  going-through-the-motions phase where arrangements were being made and condolences were coming in (my father was a very well respected man). When all things were done I took a cue from him, as he never stopped working, and went out to paint. Knowing the situation makes the image seem a little mournful, and I often feel that way about the autumn landscape, but as an image I think it came out OK, and since I did it so soon after my father's passing, I felt it as an honor to him, since he was without a doubt the most inspirational person in my life, and always supported my artistic pursuits.  

More Subway Series

These are a group of drawings that represent my continuing life study classes, free of charge, done on the Long Island Rail Road. I would certainly recommend any artist who wants to sketch from life to do this. You can observe not only anatomy but also fabrics and clothing on people.

More Paintings

More paintings, most of which were done on site. The first was done mostly on location, on Long Island of course, but I worked on the clouds in my studio to attempt to add a little activity to the sky.



Bay Inlet, Oceanside-oil on canvas (22"x28")



 Another image from the same area but done in watercolor. I find watercolor to be the most difficult medium for me to get the results I want. Despite the immediacy of the application and the potential for expressive results through impulsive marks, I find that the "accidental" effect that I admire in some of the great watercolors of John Singer Sargent and Winslow Homer could only have come about from a very strong foundation and simultaneous level of understanding those artists had of their subject and medium. The appreciation I have for both Sargent and Homer deepens every time I paint in watercolor. I need to paint every day!!



Marsh Runoff-Watercolor on paper (20"x24")