Viewers of this painting sometimes ask me, “What caused me to place a centered, hanging tree branch coming down from the top?” This is the beauty of a fresh, new view of things. I have all the elements of landscape in this composition; but it causes us to rethink, to see these typical ingredients in a new, spiritual light. This is what landscape painting should do. I will continue, though, to take down the visual notation which Nature gives me.
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n the style of American "Luminism" of the Hudson River School II. I'm working on a few smaller works done with that Turner-esque atmosphere, reminding myself and my viewers that light--and reflection--surrounds us in this fairly dark and weighty patch we're in. This piece, in particular, espouses to a mix of the doctrines of Luminism and Turner: characterized by effects of light in landscape and a diffuse horizon line; emphasizing tranquility; close control of structure, tone, and light; and often depict calm, reflective water surrounded by a soft, hazy sky.
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What began as a Luminist style painting of a tidal marsh in Hingham, MA, along the South Shore of Boston, turned into a full-fledged recreation of Nature itself--an emotive experience, a truly deep feeling of heaven and earth displayed on the stage of a coastal marshland. Deep colors of peach and teal accent the dialogue in this piece.
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I really get to do this. I get to share and spread Light. I don’t care if I have 10 followers or 50 million, I get to put my perspective on spirituality down in paint. This one’s about immensity, transformation, and the feeling that something higher and deeper has our backs.
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A very poetic painting, there is a balance between the dark and light forms, the cool and warm colors, and the visual dialogue between the Monterey cypress tree in the foreground and the eucalyptus tree center stage in the distance. Dark and light, masculine and feminine, drama and peace…it’s all here.
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From the Sussex coastline of southeast England, there are dramatic, high limestone cliffs. I love the starkness of the blues and greens of sky and sea juxtaposed with the brilliant warm whites of the cliff just after sunrise. There is a lovely breaking up of the horizontal structure of the painting in half by the cliff’s edge dead center, giving the piece the structural makeup of square, diagonal, vertical and horizontal shapes.
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A beautiful combination between “painterly” and expressionistic brushstrokes, and more refined articulations of cloud and sky. There is a rhythm to this piece, between the clouds and sea, and the warm and cool colors used.
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The second in a series I called “Morning Sequence,” after a Beck song, these four paintings were studies of my very early morning walks in Salvador, Bahia, Brazil. The northeastern city is famous for its weather, culture, food, and most of all — music; but I found the columns of clouds that would float from west to east, out over the Bay of All Saints, to be a compelling feature. That, and the agua de coco.
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The drama of the Oregon Coast, with all its beauty and interplay between dark and light, salt and spray, pristine and brutal — this little gem captures it.
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I love how this morning on the cliffs above the ocean at Mendocino Headlands, Mendocino has come out so well as a painting: the repetition of two diagonal shapes, the interplay of dark and light, framed at the top by strong horizontal in the distance.
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A powerful painting, “Borealis, no. 5” was built up of layers of abstract underpainting, multiple colors, dark and light passages and textures—only to lead me to the final, energetic layer.
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The day after witnessing a full solar eclipse in eastern Oregon, I was driving back from the life-changing sight, and saw this beautiful lake near the border of south eastern Oregon and northeastern California. There was still a feeling of aura in the sky.
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The Sacramento Delta region of central California is a world unto its own. Couple that with the Dutch landscape tradition of the 17th Century. That’s what I explored in this series of intimate paintings of Old World light: quiet and luminous, poetic and timeless.
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A century ago, in 1916, the American iconic painter, Edward Hopper, spent four summers in succession on Monhegan Island and Ogunquit (Maine). Painting alongside Robert Henri and Rockwell Kent, Hopper completed a body of work that deconstructed and changed the surface of landscape painting. I recently studied his ouevre, his paintings from the cliffs of Monhegan.
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My very first painting to come from the South Shore of Boston, near the cities of Hingham, Cohasset, and Hull. There is a beauty in finding the strength in such intimate settings in New England. This painting elicits a lovely dialogue between the cool greens and blues of the sea and sky, juxtaposed with the foreground earth-tone rocks.
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A place that resonates with me is along the Maine coast, near the town of Stonington. There are beautiful, breadloaf-like pink granite rocks that reveal themselves at low tide.
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Structure, death, light, value, and color, push and pull, strong subject matter, and a continued and studied excavation into the work of Edward Hopper from 100 years ago, to the year, off the coast of Maine. His brilliantly reckless and deft sense of pushing paint around a surface still amazes me. This is my attempt in the inspiration of what he did with Blackhead Point.
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To visit Monhegan Island, it is less of a ferryboat ride, and more of a journey, as this island, quite removed from the Maine coast, is riddled with the ghosts of painters come and gone, strong light, and a powerful coastline - unlike anything else in Maine...with the exception of the Schoodic Peninsula. This famous red house — with Mañana Island in the background, painted by Jamie Wyeth at one time — is a sweet reminder of the island shrouded in its own mystical time and space.
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One of my favorites from the series of coastal Maine paintings, this vertical piece exhibits and very strong composition of movement, texture, cool and warm — allowing for the background islands, ocean, and sky to flatten out and in a harmonic interplay with the foreground movement.
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