Painting is the way I see and enjoy all that is around me. It’s a chance to catch a passing moment and communicate my impressions to others. Ultimately I paint for the sake of painting, losing myself in the process of reacting to what I’m seeing and the sensations of mixing colors and brushing paint on a surface.
Paint what I love, and love what I paint. That’s my motto. For me, it’s essential to have a strong connection with a subject to create an expressive painting. A deep love of flowers is one my earliest memories. So as far as I’m concerned, my subject chose me.
Flowers, in there abundant variety, are the perfect subject for a painterly colorist and avid gardener. For me, nothing can compete with the opportunity to create a painting with fresh flowers and warm sunshine. Flowers constantly change color, shape and direction as they open. Capturing these subtle differences gives me great pleasure.
A love of color also drives my creative process. Painting flowers as I see them demands an expansive palette, and I continue to fine-tune mine. Armed with a full spectrum of colors, I aim to capture the essence of what I am seeing at that time. Most often, it’s a vibrant impression of color and light combined with other objects that I love. I have learned to trust myself and my knowledge of flowers enough to take some liberties with their structure or color to make the painting successful.
Painting from life is my first choice. Although I create some paintings wholly plein air and others completely in my studio, I am increasingly combining these approaches and their benefits. I delight in exploring my gallery grounds and other locations to paint the unfiltered beauty of flowers and nature. Completing color studies or larger paintings plein air requires a great deal of discipline in the face of constantly changing light and other conditions. The rewards, however, such as the chance to paint azaleas, ablaze with color, casting endless sunlit patterns, gorgeous camellias, still on the branch, bathed in morning dew and light, or the stunningly beautiful water views of this area, are tremendous.
I often use what I learn painting color studies plein air to help me infuse freshness and vitality into my studio still lifes. When I set up a still life, I draw on the inspirational constants in my process: color, sunshine and a personal connection to the objects. Some paintings draw heavily on my imagination, fed by experiences gained traveling, studying, and just enjoying my favorite hideaways. Inventing the window views that appear in so many of my pieces is one of the ways I let my imagination direct paintings. These windows represent my favorite light source and help draw viewers into the painting, imagining themselves enjoying the room and even glancing out at what is beyond.
For more detailed information about the painting techniques and materials I use, please feel free to email me.
Paint what I love, and love what I paint. That’s my motto. For me, it’s essential to have a strong connection with a subject to create an expressive painting. A deep love of flowers is one my earliest memories. So as far as I’m concerned, my subject chose me.
Flowers, in there abundant variety, are the perfect subject for a painterly colorist and avid gardener. For me, nothing can compete with the opportunity to create a painting with fresh flowers and warm sunshine. Flowers constantly change color, shape and direction as they open. Capturing these subtle differences gives me great pleasure.
A love of color also drives my creative process. Painting flowers as I see them demands an expansive palette, and I continue to fine-tune mine. Armed with a full spectrum of colors, I aim to capture the essence of what I am seeing at that time. Most often, it’s a vibrant impression of color and light combined with other objects that I love. I have learned to trust myself and my knowledge of flowers enough to take some liberties with their structure or color to make the painting successful.
Painting from life is my first choice. Although I create some paintings wholly plein air and others completely in my studio, I am increasingly combining these approaches and their benefits. I delight in exploring my gallery grounds and other locations to paint the unfiltered beauty of flowers and nature. Completing color studies or larger paintings plein air requires a great deal of discipline in the face of constantly changing light and other conditions. The rewards, however, such as the chance to paint azaleas, ablaze with color, casting endless sunlit patterns, gorgeous camellias, still on the branch, bathed in morning dew and light, or the stunningly beautiful water views of this area, are tremendous.
I often use what I learn painting color studies plein air to help me infuse freshness and vitality into my studio still lifes. When I set up a still life, I draw on the inspirational constants in my process: color, sunshine and a personal connection to the objects. Some paintings draw heavily on my imagination, fed by experiences gained traveling, studying, and just enjoying my favorite hideaways. Inventing the window views that appear in so many of my pieces is one of the ways I let my imagination direct paintings. These windows represent my favorite light source and help draw viewers into the painting, imagining themselves enjoying the room and even glancing out at what is beyond.
For more detailed information about the painting techniques and materials I use, please feel free to email me.