For the last few years, I have concentrated on small-scale paintings. Within this intimate format, delicately tangled, line obsessed surfaces have emerged.
These contemplative paintings cross paths with work from diverse periods. At first viewing, they appear as quiet landscapes, sharing common ground with the American Tonalists and French Barbizon painters. Upon closer inspection, there is an introspective intensity that relates to 17th century Dutch flower painting, as well as distinct tactile aspects, as sensed in the contemporary work of artists Neysa Grassi and Joan Nelson.
Strong visual impressions inform the imagery used in my paintings, but the work is largely improvisational and built upon a structure of micro-abstractions. Life changes are mysteriously processed and preserved as the paintings develop. This permanent record captures the subtlety of the expanding psyche, translated as shifts in imagery, palette, tone and physicality of paint.
My working style includes both broad application and selective removal. Both are critical components for a rich layering of the paint surface, contributing texture and a translucent skin. Line work is activated through web-like developments of individual brushstrokes and by etching into the paint surface. The paintings evolve slowly, gaining substance until they reach a level of independent unity.