My recent portfolio reflects the joys and freedoms of working with richly colored acrylics. I’m not the sort of artist that has a specific goal or vision in mind when I start a new canvas. Sometimes the painting itself will guide me as the colors blend into one another, a story that unfolds slowly and at times, insidiously. A darkness emerges from my work that oftentimes surprises even me; an undefined anthropomorphism that lives between the worlds of nature and human forms.
My work in this medium often reflects the light and space that exists between living and stationary objects. I strive for the viewer to engage in and become an active participant—to come to his or her own conclusions about the work and what’s on the canvas. Is that a forest scene they’re looking at, or a foggy street where human beings walk anonymously, their bodies merging into the walls and sidewalks that they occupy?
I especially enjoy painting trees and anything else that comes out of the earth. When the weather comes into contact with things growing in the ground, an unsettling and sometimes macabre dance evolves from the mix of precipitation and wind. A tree limb, beaten down by years of eruptions in the sky, shakes helplessly like an old woman’s body. Long grass and shrubs fly about, creating opportunities for the artist to capture their desperate movements.
Even stationary objects have their own relationship with the natural elements around them. From a distance, a thick canopy of fog or rain or a fleet of clouds may alter the literal contours of a mountain or a skyline of buildings, blending sky and structure as one. This is what I try to capture in my acrylic paintings—a mixture of what is real and what is perceived. Through the use of color and bold brush strokes, I try to create pieces that challenge the viewer’s eye and at times, produce a visceral tug.
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