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.
“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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Some of the most spectacular sections of the Oregon Coast belong to the first twenty miles north of California, 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.
Well, Monet had his water lilies and haystacks, and I have my contemporary wave explorations. 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. This particular version has an oncoming wave and a slightly different tonality of color.
“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…it is in this new series of cloud paintings that his vision opens up and aspires to majesty. 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
A fairly loose and painterly painting from Moose Lake in the lake district of Maine, channeling the style of the Hudson River School Luminists.
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.
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, I have broadened and expanded the ridge of mountains vertically to re-present this powerful coastal range.
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.
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.
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.
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, 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.
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.
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.
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
The latest incarnation of this motif of light and reflection, the ingredients of Turner, hope, calm, and new beginnings.
A complete repaint of this evocative tip of the hat to American Luminism.
A further exploration of the ethereal, smooth-toned surface, cloud motif.
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.
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.
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.
A new approach of an original painting. The original didn’t work out for me. It looked contrived. I decided to attack it with intense colors, and painted out the clouds. I let that dry, and then proceeded to work from the horizon upwards into the sky section. The next morning, I took a palette knife to what I’d done the day before. I loved the color revealing itself from beneath. I followed the instructions from the painting, and 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” : 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.
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 - 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.
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.
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.
Continuing with the spiritual Being subject, I consider clouds as sentinels of Spirit.
Elegant, luminous, evocative, lyrical and peaceful. "Open Water, no. 2" presents the viewer squarely on the surface of a calm sea, open to possibilities, a personal voyage into infinity -- all the while underneath the canopy and dance of cloud-forms.