I am inspired by light and shadow, how color works together to make areas pulse and recede, and the way brush strokes and layers of paint can influence emotional responses to a work. My work is impressionistic, in a expressionistic manner. I paint on black allowing some of the dark to show through, the contrast of dark to the light causing the color to be even more luminous. It takes light to reveal what is hidden in the darkness, and it takes dark to soften the harshness of the light. In the winter, especially in November, the dark seems to take over. It is the small bits of light that stand out now. And it is those bits of light that I look for in my work.
I have been painting for over twenty years, more seriously since 2007, and nearly daily since 2010. Committing to a daily painting has caused a great maturation in my technique; my decision-making process has become intuitive and automatic, to the point where my efficiency has reached epic proportions.
My influences have been literary, spiritual, personal and artistic. I read voraciously, fiction and non, and prefer visual writers and poetry. John Singer Sargent’s brushstrokes caught my eye through their tangible translation of the sense of touch in a brushstroke, and Alice Neel’s psychological portraits have demonstrated how to explain personality through the use of contrast and color. Of course, Vincent VanGogh’s hysterical and wise use of textured and energetic line have encouraged me since childhood.
A piece is successful for me when I want to keep looking at it. When I have truly captured the essence of the animal in a portrait or the deep purple tones of the shadows in a street scene, I am in awe of myself. That is when I feel I am being an instrument of the art itself. The work exists somewhere – I am simply translating the vision.