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Growing up I had plenty of curiosity, loved making all sorts of stuff and decorated whatever I could find. Eventually I discovered the near total absorption of painting. Some days even planning a painting helps makes sense of things; it can focus and ease the impact of outside events, express what I can’t quite verbalize. I relish experimenting with different techniques and materials, but try to remember that less can sometimes day more. Often I channel the flow of images into a series. If I keep several pieces going at once they can inform and impact each other.
Light and skies fascinate me as much as when I found shapes looking up at clouds and trees. There is something almost magical about the act of capturing what draws me to a landscape, whether it is what we often see or a small unexpected spot. I’m attracted to the simple and complex and when I’ m on the road, I find my painters eye using the windshield as a “frame.”
At other times abstraction provides a way to explore composition with color and shape, value, texture, and line. I’m excited by the challenge of diagonals and arranging shapes, the interaction between hard and soft edges and the range of found and created texture. What happens when I make this line, choose that color? Working non-objectively can mirror something deep or playful. Some pieces are an outgrowth of the representational world, sometimes they are more internally driven.
“The Great What If?" is seductive but there is a need for some objectivity and control to balance that exuberance. I relish the on-going dance between what should happen and what actually does. Do I alter what I see? What if I stay with the flow of materials through my head to my heart and hand? Balancing creative time with the other parts of work and life can be a challenge, but those brushes feed me somewhere down deep. There’s always another side of the paper, canvas to gesso, and the drawer of collage bits when I need to cut and paste. Not much has changed-I still want to do it all.