PRAYING FOR LAND   48" x 36"  oil on canvas
PRAYING FOR LAND 48" x 36" oil on canvas

Quite unlike anything I’ve ever done, this is a largely spiritual painting, one might even call Symbolism. Of course, Turner, at times like this, is an influence. Taking out all detail, this subject matter becomes far more about emotion - what it’s like to stand at the precipice and being bathed in Light.

CLOUD ATLAS   40" x 30"  oil on canvas
CLOUD ATLAS 40" x 30" oil on canvas

“The strength of the idea, its execution and its originality are the signposts that the gallery looks for in the art that it represents.”

Addington Gallery, Chicago, IL

INLET   15” x 24”  oil on canvas
INLET 15” x 24” oil on canvas

What began as a Luminist style painting of a tidal marsh in Hingham, Massachusetts, on 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 marsh. There is a suggestion of a Frederick Church painting here. Something heroic, operatic, tranquil - yet, engaging in a moment. It’s entitled “inlet” as an opening, a corridor to enter.

OCEANUS, NO. 1   12" x 36"  oil on panel
OCEANUS, NO. 1 12" x 36" oil on panel

Once in a blue moon, a painting comes along that allows you to just sit and stare at it after it’s completed. I sat on my couch for a while, taking it all in. I gave it a Greek water god name. I rather liked it. One must confront the breaking wave, embraced by the salt, the power, the depth, the gift from the immensity.

THAT WHICH REMAINS   24" x 20"  oil on panel
THAT WHICH REMAINS 24" x 20" oil on panel

New dimensions, new directions. There are a number of levels to this piece. Painted with an attention to detail and luminosity by placing the California iconic redwood tree stand squarely in the center of the composition - there is a contemporary edge to this piece. The title bespeaks of our disappearing wilderness for the replacement of “progress.” That which remains is a sacred cathedral: Nature.

TWO ROCK VALLEY   16" x 20"  oil on panel
TWO ROCK VALLEY 16" x 20" oil on panel

This is my return to painting the Two Rock Valley area of northern California, made famous by Christo and his "Running Fence" forty years ago. I have, in years previous, painted this magical area, often venturing out, with camera in hand, among the pastureland and stands of eucalyptus trees during a downpour. This particular tree stand is one of my favorite subjects.

BLACK ROCK, NO. 3   10" X 20"  oil on paper on panel
BLACK ROCK, NO. 3 10" X 20" oil on paper on panel

A sacred place for me, this small, rocky beach in Cohasset, on the South Shore of Boston near the towns of Hingham and Hull, this intimate setting has offered up to me a number of oil on panel studies.

HUMBOLDT COUNTY, NO. 5   12" x 24"  oil on panel
HUMBOLDT COUNTY, NO. 5 12" x 24" oil on panel

Majestic, dramatic, pristine - the far Northern California coastline presents both a wildness and an unmatched spiritual venue for reflection and replenishment. Nature contains constant lessons and teachings to remind us of our untouched connection to things deep and holy. In this particular painting - one of a series of this scene - I have broadened and expanded the ridge of mountains vertically to re-present this powerful coastal range.

OCEANUS, NO. 2   12" x 18"  oil on panel
OCEANUS, NO. 2 12" x 18" oil on panel

This wave painting exhibits my approach to describing the elemental and raw force of Nature, through the vehicle of a luminously detailed painting of a wave.

SAND BEACH, NO. 7   24" x 20”  oil on paper on panel
SAND BEACH, NO. 7 24" x 20” oil on paper on panel

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.

VALLEY FORD   12" x 16"  oil on panel
VALLEY FORD 12" x 16" oil on panel

Inspired by the Dutch Landscape School of the 17th Century Jacob van Ruisdael in particular), I went for a soft and haunting light, lyrical movement, a captivating, emotive quality to the painting.

VALLEY FORD, NO. 3   14" x 18"  oil on panel
VALLEY FORD, NO. 3 14" x 18" oil on panel

This piece, though subtle, has the elements of diagonal, vertical, horizontal shapes composing the structure and make-up of the piece. It also presents a eucalyptus stand squarely, against the sky and hills, as an altarpiece, a holy place for contemplation.

GARDEN OF STONE, NO. 3   24” x 36”  oil on panel
GARDEN OF STONE, NO. 3 24” x 36” oil on panel

Some of the most spectacular sections of the Oregon Coast belong to the first twenty miles north of California, along the Oregon Coast Trail, specifically known as the Boardman State Scenic Corridor. The soft and misty coastal light is unlike anywhere else. This particular painting presents a horizontal narrative of left to right night yielding to day - dark and cool leading into warmth and light.

24" x 36" oil on panel

OCEANUS, NO. 3   12" x 36"  oil on panel
OCEANUS, NO. 3 12" x 36" oil on panel

Well, Monet had his water lilies and haystacks, and I have my more contemporary wave explorations. Besides having a longer format, I feel the subject matter is no longer about a wave, but a force of Nature, a presence of energy, symmetry, an element of water and light. The presence must be reckoned with. I completed one similar to "Oceanus, no. 3" earlier this year; this particular version has an oncoming wave and a slightly different tonality of color. 

SHROUD   20” x 24”  oil on panel
SHROUD 20” x 24” oil on panel

“Brooks Anderson is, above all, a true believer in the power of painting. With a skilled hand and deft brush, Anderson speaks powerfully of the awe and wonder found in our experience of atmosphere and natural phenomenon. The beauty of this Californian’s rendering of earth and water are anchored by an extensive formal vocabulary and visual intellect. But it is in this new series of cloud paintings that his vision opens up and aspires to majesty. The changing shapes of clouds fascinate us since childhood, and link us together no matter where we dwell. Anderson effectively lifts our eyes and encourages us to marvel again at the powerful billowing commonplace of the sky.”

Dan Addington, Addington Gallery, Chicago, IL

HARBINGER   12" x 24"  oil on panel
HARBINGER 12" x 24" oil on panel

A fairly loose and painterly painting from Moose Lake in the lake district of Maine, channeling the style of the Hudson River School Luminists.

TIDAL MARSH   10" x 20"  oil on panel
TIDAL MARSH 10" x 20" oil on panel

Revisiting a familiar scene, yet one that I am still very drawn to, this particular view elicits tranquility and stillness - one of the many qualities we can learn from Nature these days. This painting is of a tidal marsh, a salt water estuary  on the South shore of Boston. The composition is built up of large, underlying shapes. A strong, serpentine composition finishes off this piece.

HUMBOLDT COUNTY, NO. 4   24" x 36"  oil on panel
HUMBOLDT COUNTY, NO. 4 24" x 36" oil on panel

Majestic, dramatic, and pristine — the far Northern California coastline presents both a wildness and an unmatched spiritual venue for reflection and replenishment. Nature has constant lessons and teachings to remind us of our untouched connection to things deep and holy. In this particular painting — one of a series of this scene - I have broadened and expanded the ridge of mountains vertically to re-present this powerful coastal range. 

THAT WHICH REMAINS, NO. 2   24" x 30"  oil on panel
THAT WHICH REMAINS, NO. 2 24" x 30" oil on panel

There are a number of levels to this piece: new dimensions, and new directions. Painted with an attention to detail and luminosity by placing the California iconic redwood tree stand squarely in the center of the composition - there is a contemporary edge to this piece. The title speaks to the disappearing wilderness for the replacement of “progress.” That which remains is a sacred cathedral: Nature.

MORNING SEQUENCE: RIVER   10” x 20”  oil on panel
MORNING SEQUENCE: RIVER 10” x 20” oil on panel

Transcribing the nuances of summer morning light from the Connecticut Shoreline, I still had it in me to emulate what I saw and felt, in a painting, the effects of atmosphere, land, water, reflection, and luminosity - with the backdrop of a gentle Connecticut River. I could see, firsthand, what the Hudson River School artists attempted to harness with the optical effects displayed before them.

LUMINA, NO. 2   18" x 24"  oil on panel
LUMINA, NO. 2 18" x 24" oil on panel

A follow up to the two previous vertical paintings, “Praying for Land” and “Lumina, no. 1,” this horizontal painting is completely ethereal, smooth-toned, and with a contemporary approach.

TERMINUS, NO. 5   14” x 11”  oil on canvas
TERMINUS, NO. 5 14” x 11” oil on canvas

Clouds for me are a constant muse to paint. Sometimes it’s key to leave best laid plans alone; so not painting a cloud this time, while painting the background, presented a more spiritual edge to the painting.

DUENDE   36” x 36”  oil on canvas
DUENDE 36” x 36” oil on canvas

Duende, often a term used in flamenco, loosely means having soul, a heightened state of emotion, expression and authenticity, an artistic and especially musical term. It is a creative spirit, an invocation. The duende seizes not only the performer but also the audience, creating conditions where art can be understood spontaneously with little, if any, conscious effort. It transcend the ordinary and normal, into a state of rapture and exultation.

VERITAS, NO. 2   48” x 36”  oil on canvas
VERITAS, NO. 2 48” x 36” oil on canvas

The second in a series of four, “Veritas,” in Latin, means “Truth.” In a day where truth is often hard to come by, as we are questioned daily through the news, the question from Pilate was, “What is truth.” For me, the truth always comes back to Nature. It doesn't know anything but truth, being, what IS. I have chosen the sun piercing through the clouds as my motif for truth.

TALUS, NO. 2   18" x 24"  oil on panel
TALUS, NO. 2 18" x 24" oil on panel

This painting, the second of two explorations, was painted with a light hand - with the sensitivity and rhythm of what clouds feel like to me, full of grace and nuance. This piece is also built up with triangles. I had an art teacher years ago, Saul Bernstein, at California State University, Northridge, who taught us how El Greco’s painting, “View of Toledo,” was broken up into all triangles. I’ve done that here...pretty much the entire composition is large, medium, and small triangles.

TALUS, NO. 1   18" x 24"  oil on panel
TALUS, NO. 1 18" x 24" oil on panel

This particular composition presents a somewhat yin/yang layout, the space and dance between earth and sky. Further going in, further deepening the work, I paint to bring about the simplicity of fresh, contemporary paintings from Nature’s edge. “Sell your cleverness, and purchase bewilderment.” Rumi

"PRAYING FOR LAND, NO. 4"    48” x 36” oil on canvas
"PRAYING FOR LAND, NO. 4" 48” x 36” oil on canvas

The latest incarnation of this motif of light and reflection, the ingredients of Turner, hope, calm, and new beginnings.

MORNING SEQUENCE: RIVER   30” x 48”  oil on canvas
MORNING SEQUENCE: RIVER 30” x 48” oil on canvas

A complete repaint of this evocative tip of the hat to American Luminism. 

MANTLE   30” x 40”  oil on canvas
MANTLE 30” x 40” oil on canvas

A further exploration of the ethereal, smooth-toned surface, cloud motif.

LUMINA, NO. 3   36” x 48”  oil on canvas
LUMINA, NO. 3 36” x 48” oil on canvas

A larger version of a previous painting - "Lumina, no. 2," this painting exhibits a full-blown looseness and surface vibrancy of paint; brushstroke and color choice were purely spontaneous. 

OPEN WATER   40” x 60”  oil on canvas
OPEN WATER 40” x 60” oil on canvas

Sometimes it’s not about detail anymore. After mastering seascapes for years, it was time to allow the sea and sky to master me. It took me to the edge — nothing but the elements of water and air, horizon and infinity.

VERITAS, NO. 3   48” x 36”  oil on canvas
VERITAS, NO. 3 48” x 36” oil on canvas

The third in a series of four, “Veritas,” in Latin, means “Truth.” In a day where truth is often hard to come by, as we are questioned daily through the news, the question from Pilate was, “What is truth.” For me, the truth always comes back to Nature. It doesn't know anything but truth, being, what IS. I have chosen the sun piercing through the clouds as my motif for truth.

ABOVE AND BELOW   36” x 60”  oil on canvas
ABOVE AND BELOW 36” x 60” oil on canvas

A new approach of an original painting. The original didn’t work out for me. It looked contrived. I decided to attack it with a bunch of intense colors, and painted out the clouds. I let that dry, and then proceeded to work from the horizon upwards into the sky section. Letting it sit overnight, I didn’t like what I saw the next morning. Frustrated, I started to take a palette knife to what I’d done the day before. What happened next, you don’t plan for. I loved the color revealing itself from beneath. I followed the instructions from the painting, developed the sky from that premise. The gestural clouds filled in, and I had a painting. Quite unlike anything I’d done before, and that’s a good thing.

ANIMA   30” x 60”  oil on canvas
ANIMA 30” x 60” oil on canvas

“anima” : According to Carl Jung, is the unconscious feminine side of a man; an individual’s true inner self; governing spirit, intention. This wave, for me, personified the primal and innate force of Nature within; a holy visitant. 

TRITON   18” x 48”  oil on linen
TRITON 18” x 48” oil on linen

I don’t know why, but it was unavoidable to title this piece after the Greek god of the oceans. Perhaps it was the light and power, the primal force, Nature confronting the viewer on its own terms.

THALASSA   24” x 36” x 2.5”  oil on canvas
THALASSA 24” x 36” x 2.5” oil on canvas

Thalassa - Greek Mythology; Primordial Goddess of the Sea
Continuing our Greek God theme, I have titled this piece with a double meaning: as both a primeval and visceral experience of the awe of Nature; and a threshold, an opening or beginning. It is when we have become at one, submerged, baptized and connected with the invigorating depths, that we may actually find ourselves...even healing for these uneasy times.

BOREALIS   36” x 36” x 2.5”  oil on canvas
BOREALIS 36” x 36” x 2.5” oil on canvas

I launch out into the deep with an ethereal, spiritual cloud piece which is built up with layers of transparent color glazes, and varnished in between each and every layer. The painter, Richard Diebenkorn, said something to the effect of addressing what is uncertain. This is my challenge, and my freedom now.

COVENANT   36” x 48”  oil on canvas
COVENANT 36” x 48” oil on canvas

There is something about the confluence of power and beauty, a force of Nature witnessed. But this oil on canvas painting is not just about a large thunderhead, as it is entitled, “Covenant,” or an agreement between the intensions of Spirit, of the Divine, and the human. It’s a place where I just want to take off my shoes - an act of trust and submission to the superior force - and stand back and observe what’s before me...and consequently, feel the Divine.

PRAYING FOR LAND   48" x 36"  oil on canvas
CLOUD ATLAS   40" x 30"  oil on canvas
INLET   15” x 24”  oil on canvas
OCEANUS, NO. 1   12" x 36"  oil on panel
THAT WHICH REMAINS   24" x 20"  oil on panel
TWO ROCK VALLEY   16" x 20"  oil on panel
BLACK ROCK, NO. 3   10" X 20"  oil on paper on panel
HUMBOLDT COUNTY, NO. 5   12" x 24"  oil on panel
OCEANUS, NO. 2   12" x 18"  oil on panel
SAND BEACH, NO. 7   24" x 20”  oil on paper on panel
VALLEY FORD   12" x 16"  oil on panel
VALLEY FORD, NO. 3   14" x 18"  oil on panel
GARDEN OF STONE, NO. 3   24” x 36”  oil on panel
OCEANUS, NO. 3   12" x 36"  oil on panel
SHROUD   20” x 24”  oil on panel
HARBINGER   12" x 24"  oil on panel
TIDAL MARSH   10" x 20"  oil on panel
HUMBOLDT COUNTY, NO. 4   24" x 36"  oil on panel
THAT WHICH REMAINS, NO. 2   24" x 30"  oil on panel
MORNING SEQUENCE: RIVER   10” x 20”  oil on panel
LUMINA, NO. 2   18" x 24"  oil on panel
TERMINUS, NO. 5   14” x 11”  oil on canvas
DUENDE   36” x 36”  oil on canvas
VERITAS, NO. 2   48” x 36”  oil on canvas
TALUS, NO. 2   18" x 24"  oil on panel
TALUS, NO. 1   18" x 24"  oil on panel
"PRAYING FOR LAND, NO. 4"    48” x 36” oil on canvas
MORNING SEQUENCE: RIVER   30” x 48”  oil on canvas
MANTLE   30” x 40”  oil on canvas
LUMINA, NO. 3   36” x 48”  oil on canvas
OPEN WATER   40” x 60”  oil on canvas
VERITAS, NO. 3   48” x 36”  oil on canvas
ABOVE AND BELOW   36” x 60”  oil on canvas
ANIMA   30” x 60”  oil on canvas
TRITON   18” x 48”  oil on linen
THALASSA   24” x 36” x 2.5”  oil on canvas
BOREALIS   36” x 36” x 2.5”  oil on canvas
COVENANT   36” x 48”  oil on canvas
PRAYING FOR LAND 48" x 36" oil on canvas

Quite unlike anything I’ve ever done, this is a largely spiritual painting, one might even call Symbolism. Of course, Turner, at times like this, is an influence. Taking out all detail, this subject matter becomes far more about emotion - what it’s like to stand at the precipice and being bathed in Light.

CLOUD ATLAS 40" x 30" oil on canvas

“The strength of the idea, its execution and its originality are the signposts that the gallery looks for in the art that it represents.”

Addington Gallery, Chicago, IL

INLET 15” x 24” oil on canvas

What began as a Luminist style painting of a tidal marsh in Hingham, Massachusetts, on 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 marsh. There is a suggestion of a Frederick Church painting here. Something heroic, operatic, tranquil - yet, engaging in a moment. It’s entitled “inlet” as an opening, a corridor to enter.

OCEANUS, NO. 1 12" x 36" oil on panel

Once in a blue moon, a painting comes along that allows you to just sit and stare at it after it’s completed. I sat on my couch for a while, taking it all in. I gave it a Greek water god name. I rather liked it. One must confront the breaking wave, embraced by the salt, the power, the depth, the gift from the immensity.

THAT WHICH REMAINS 24" x 20" oil on panel

New dimensions, new directions. There are a number of levels to this piece. Painted with an attention to detail and luminosity by placing the California iconic redwood tree stand squarely in the center of the composition - there is a contemporary edge to this piece. The title bespeaks of our disappearing wilderness for the replacement of “progress.” That which remains is a sacred cathedral: Nature.

TWO ROCK VALLEY 16" x 20" oil on panel

This is my return to painting the Two Rock Valley area of northern California, made famous by Christo and his "Running Fence" forty years ago. I have, in years previous, painted this magical area, often venturing out, with camera in hand, among the pastureland and stands of eucalyptus trees during a downpour. This particular tree stand is one of my favorite subjects.

BLACK ROCK, NO. 3 10" X 20" oil on paper on panel

A sacred place for me, this small, rocky beach in Cohasset, on the South Shore of Boston near the towns of Hingham and Hull, this intimate setting has offered up to me a number of oil on panel studies.

HUMBOLDT COUNTY, NO. 5 12" x 24" oil on panel

Majestic, dramatic, pristine - the far Northern California coastline presents both a wildness and an unmatched spiritual venue for reflection and replenishment. Nature contains constant lessons and teachings to remind us of our untouched connection to things deep and holy. In this particular painting - one of a series of this scene - I have broadened and expanded the ridge of mountains vertically to re-present this powerful coastal range.

OCEANUS, NO. 2 12" x 18" oil on panel

This wave painting exhibits my approach to describing the elemental and raw force of Nature, through the vehicle of a luminously detailed painting of a wave.

SAND BEACH, NO. 7 24" x 20” oil on paper on panel

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.

VALLEY FORD 12" x 16" oil on panel

Inspired by the Dutch Landscape School of the 17th Century Jacob van Ruisdael in particular), I went for a soft and haunting light, lyrical movement, a captivating, emotive quality to the painting.

VALLEY FORD, NO. 3 14" x 18" oil on panel

This piece, though subtle, has the elements of diagonal, vertical, horizontal shapes composing the structure and make-up of the piece. It also presents a eucalyptus stand squarely, against the sky and hills, as an altarpiece, a holy place for contemplation.

GARDEN OF STONE, NO. 3 24” x 36” oil on panel

Some of the most spectacular sections of the Oregon Coast belong to the first twenty miles north of California, along the Oregon Coast Trail, specifically known as the Boardman State Scenic Corridor. The soft and misty coastal light is unlike anywhere else. This particular painting presents a horizontal narrative of left to right night yielding to day - dark and cool leading into warmth and light.

24" x 36" oil on panel

OCEANUS, NO. 3 12" x 36" oil on panel

Well, Monet had his water lilies and haystacks, and I have my more contemporary wave explorations. Besides having a longer format, I feel the subject matter is no longer about a wave, but a force of Nature, a presence of energy, symmetry, an element of water and light. The presence must be reckoned with. I completed one similar to "Oceanus, no. 3" earlier this year; this particular version has an oncoming wave and a slightly different tonality of color. 

SHROUD 20” x 24” oil on panel

“Brooks Anderson is, above all, a true believer in the power of painting. With a skilled hand and deft brush, Anderson speaks powerfully of the awe and wonder found in our experience of atmosphere and natural phenomenon. The beauty of this Californian’s rendering of earth and water are anchored by an extensive formal vocabulary and visual intellect. But it is in this new series of cloud paintings that his vision opens up and aspires to majesty. The changing shapes of clouds fascinate us since childhood, and link us together no matter where we dwell. Anderson effectively lifts our eyes and encourages us to marvel again at the powerful billowing commonplace of the sky.”

Dan Addington, Addington Gallery, Chicago, IL

HARBINGER 12" x 24" oil on panel

A fairly loose and painterly painting from Moose Lake in the lake district of Maine, channeling the style of the Hudson River School Luminists.

TIDAL MARSH 10" x 20" oil on panel

Revisiting a familiar scene, yet one that I am still very drawn to, this particular view elicits tranquility and stillness - one of the many qualities we can learn from Nature these days. This painting is of a tidal marsh, a salt water estuary  on the South shore of Boston. The composition is built up of large, underlying shapes. A strong, serpentine composition finishes off this piece.

HUMBOLDT COUNTY, NO. 4 24" x 36" oil on panel

Majestic, dramatic, and pristine — the far Northern California coastline presents both a wildness and an unmatched spiritual venue for reflection and replenishment. Nature has constant lessons and teachings to remind us of our untouched connection to things deep and holy. In this particular painting — one of a series of this scene - I have broadened and expanded the ridge of mountains vertically to re-present this powerful coastal range. 

THAT WHICH REMAINS, NO. 2 24" x 30" oil on panel

There are a number of levels to this piece: new dimensions, and new directions. Painted with an attention to detail and luminosity by placing the California iconic redwood tree stand squarely in the center of the composition - there is a contemporary edge to this piece. The title speaks to the disappearing wilderness for the replacement of “progress.” That which remains is a sacred cathedral: Nature.

MORNING SEQUENCE: RIVER 10” x 20” oil on panel

Transcribing the nuances of summer morning light from the Connecticut Shoreline, I still had it in me to emulate what I saw and felt, in a painting, the effects of atmosphere, land, water, reflection, and luminosity - with the backdrop of a gentle Connecticut River. I could see, firsthand, what the Hudson River School artists attempted to harness with the optical effects displayed before them.

LUMINA, NO. 2 18" x 24" oil on panel

A follow up to the two previous vertical paintings, “Praying for Land” and “Lumina, no. 1,” this horizontal painting is completely ethereal, smooth-toned, and with a contemporary approach.

TERMINUS, NO. 5 14” x 11” oil on canvas

Clouds for me are a constant muse to paint. Sometimes it’s key to leave best laid plans alone; so not painting a cloud this time, while painting the background, presented a more spiritual edge to the painting.

DUENDE 36” x 36” oil on canvas

Duende, often a term used in flamenco, loosely means having soul, a heightened state of emotion, expression and authenticity, an artistic and especially musical term. It is a creative spirit, an invocation. The duende seizes not only the performer but also the audience, creating conditions where art can be understood spontaneously with little, if any, conscious effort. It transcend the ordinary and normal, into a state of rapture and exultation.

VERITAS, NO. 2 48” x 36” oil on canvas

The second in a series of four, “Veritas,” in Latin, means “Truth.” In a day where truth is often hard to come by, as we are questioned daily through the news, the question from Pilate was, “What is truth.” For me, the truth always comes back to Nature. It doesn't know anything but truth, being, what IS. I have chosen the sun piercing through the clouds as my motif for truth.

TALUS, NO. 2 18" x 24" oil on panel

This painting, the second of two explorations, was painted with a light hand - with the sensitivity and rhythm of what clouds feel like to me, full of grace and nuance. This piece is also built up with triangles. I had an art teacher years ago, Saul Bernstein, at California State University, Northridge, who taught us how El Greco’s painting, “View of Toledo,” was broken up into all triangles. I’ve done that here...pretty much the entire composition is large, medium, and small triangles.

TALUS, NO. 1 18" x 24" oil on panel

This particular composition presents a somewhat yin/yang layout, the space and dance between earth and sky. Further going in, further deepening the work, I paint to bring about the simplicity of fresh, contemporary paintings from Nature’s edge. “Sell your cleverness, and purchase bewilderment.” Rumi

"PRAYING FOR LAND, NO. 4" 48” x 36” oil on canvas

The latest incarnation of this motif of light and reflection, the ingredients of Turner, hope, calm, and new beginnings.

MORNING SEQUENCE: RIVER 30” x 48” oil on canvas

A complete repaint of this evocative tip of the hat to American Luminism. 

MANTLE 30” x 40” oil on canvas

A further exploration of the ethereal, smooth-toned surface, cloud motif.

LUMINA, NO. 3 36” x 48” oil on canvas

A larger version of a previous painting - "Lumina, no. 2," this painting exhibits a full-blown looseness and surface vibrancy of paint; brushstroke and color choice were purely spontaneous. 

OPEN WATER 40” x 60” oil on canvas

Sometimes it’s not about detail anymore. After mastering seascapes for years, it was time to allow the sea and sky to master me. It took me to the edge — nothing but the elements of water and air, horizon and infinity.

VERITAS, NO. 3 48” x 36” oil on canvas

The third in a series of four, “Veritas,” in Latin, means “Truth.” In a day where truth is often hard to come by, as we are questioned daily through the news, the question from Pilate was, “What is truth.” For me, the truth always comes back to Nature. It doesn't know anything but truth, being, what IS. I have chosen the sun piercing through the clouds as my motif for truth.

ABOVE AND BELOW 36” x 60” oil on canvas

A new approach of an original painting. The original didn’t work out for me. It looked contrived. I decided to attack it with a bunch of intense colors, and painted out the clouds. I let that dry, and then proceeded to work from the horizon upwards into the sky section. Letting it sit overnight, I didn’t like what I saw the next morning. Frustrated, I started to take a palette knife to what I’d done the day before. What happened next, you don’t plan for. I loved the color revealing itself from beneath. I followed the instructions from the painting, developed the sky from that premise. The gestural clouds filled in, and I had a painting. Quite unlike anything I’d done before, and that’s a good thing.

ANIMA 30” x 60” oil on canvas

“anima” : According to Carl Jung, is the unconscious feminine side of a man; an individual’s true inner self; governing spirit, intention. This wave, for me, personified the primal and innate force of Nature within; a holy visitant. 

TRITON 18” x 48” oil on linen

I don’t know why, but it was unavoidable to title this piece after the Greek god of the oceans. Perhaps it was the light and power, the primal force, Nature confronting the viewer on its own terms.

THALASSA 24” x 36” x 2.5” oil on canvas

Thalassa - Greek Mythology; Primordial Goddess of the Sea
Continuing our Greek God theme, I have titled this piece with a double meaning: as both a primeval and visceral experience of the awe of Nature; and a threshold, an opening or beginning. It is when we have become at one, submerged, baptized and connected with the invigorating depths, that we may actually find ourselves...even healing for these uneasy times.

BOREALIS 36” x 36” x 2.5” oil on canvas

I launch out into the deep with an ethereal, spiritual cloud piece which is built up with layers of transparent color glazes, and varnished in between each and every layer. The painter, Richard Diebenkorn, said something to the effect of addressing what is uncertain. This is my challenge, and my freedom now.

COVENANT 36” x 48” oil on canvas

There is something about the confluence of power and beauty, a force of Nature witnessed. But this oil on canvas painting is not just about a large thunderhead, as it is entitled, “Covenant,” or an agreement between the intensions of Spirit, of the Divine, and the human. It’s a place where I just want to take off my shoes - an act of trust and submission to the superior force - and stand back and observe what’s before me...and consequently, feel the Divine.

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