My oil landscape paintings are a contemporary interpretation of impressionist American artists from the early 1900's. This stylistic approach allows a range of color subtleties as well as vibrant flowing compositions in the pursuit of expressing the seasonal moods of Midwest skies, lakes, farmland and prairies.

An extensive photographic career, with studios in NYC and Chicago, including over  three decades of national campaigns, has greatly influenced my perception of the significance of light, perspective and composition. 

Painting is my natural course, it is my commitment and fulfillment, as I have always been intrigued 
by the opportunity to present a moment of creation, an inspirational memory.

 

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I am primarily interested in the awesome sky configurations that happen almost everyday...all that is required is "looking upward" and pausing long enough to let that memory become part of me. Generally I will work from a large library of photographs that have been captured traipsing hill and dale looking for specific moments when light runs along a field or stream.

Many of my sky paintings are solely from these memories which allow the freedom to soar any direction I am led. The composition is sketched in over the entire canvas regardless of size from 10"x 10" to 10' x 10' and then color palettes are mixed. Sometimes this mixing process can consume quite a bit of time as I am searching for unique tonal juxtapositions. Some of the finest oil paints (Old Holland or Mussini) are used to provide a very vivid and rich color range and they are applied using primarily natural hair Escoda brushes usually about 20 varying sizes per canvas.

Once found, the color palette for the area of the painting that I am working on, the process begins of layering glazes...at first color zones are blocked in with larger brushes and once those have dried I will continue with the next coating (using a similar palette possibly) and finer smaller brushes until there may be 3- 5 glazes. My goal is to find an overall design that is interesting and challenging to myself and the viewer...I think of this as making about a thousand or more 3/4 inch design decisions (the average width of a brush).

Finally,  and more intangible...what makes it art? Remaining open to what may occur during the experimental process...all painters, I believe, have a natural developed stroke and flow to their work but the unplanned human element is what creates painterly and singular artwork.