style could be described as impressionistic realism that focuses on atmosphere and mood. My work inspires an emotional response to nature and beauty, which hopefully results in timeless, enduring artwork. The paintings beg for a closer look and reveal subtlety in color, poetic impressions and mystery. To me, painting is not about a certain medium. I love both watercolor and oil, and I paint from life often. Generally, my paintings have a tonal quality to it, often referred to as a “limited palette”— although to me that makes no sense because I am using the whole spectrum of colors. The goal is to utilize value rather than color to emphasize form. Value is thought to be the most important element of color. Of course, a sound structure must also
be in every painting. In watercolor I do a preliminary drawing first to establish form and design. Application of the light washes, followed by medium values, and finally, dark washes. My watercolors are based on large washes mostly with primary color mixes where the final color and value combination is achieved on the paper, not in the palette. I also apply white paint, when necessary, to achieve a certain result. Oil painting starts with a transparent, dark underpainting, such as transparent oxide brown and application of darks first. Economy of brushstroke and application of texture plays an important role in oil painting. Again, if possible, all painting is done with primary or secondary mixes. Technique, to me, is just a means to an end not a goal in itself. The highest goal is a personal vision and a still mind. A cluttered mind does not paint well.
Boulevard de la Ligne, oil, 18 x 24" (46 x 61 cm)
This is a favorite scene from the top of a park in Avignon, France. This was completed in the studio from a study I painted on location. I just love the wavy lines of the composition and atmospheric quality. I was careful not to overwork the immediate area in the lower part of the painting. It helps lead the viewer’s eyes through the picture.
El Jaleo, watercolor, 22 x 18" (56 x 46 cm)
Inspiration for this painting came from a live performance at the Isabella Stewart Gardner Museum in Boston, Massachusetts. Two choreographers created and performed a dance in honor of the John Singer Sargent painting El Jaleo. I was graciously allowed to use references from the recording. I used the wet-onwet watercolor technique without the use of masking fluid. Multiple glazes give depth to the work, and the girl melting into the background was achieved by using lost and found edges. To create a more compelling picture, I chose to paint her facing away from the viewer. The composition is a triangle.
Tadich Grill, watercolor, 18 x 22" (46 x 56 cm)
There is a certain controlled chaos in this San Francisco scene. As with life in general, a greater intelligence is at work. That is my dilemma as an artist: What I really want to paint cannot be painted. The figures in the shadows on the left are just suggested. The shadow connects the scene and the lines on the street, along with the shadow and background buildings create a Z-shape composition.
The Swirl, oil, 14 x 14" (35½ x 35½ cm)
Inspiration came during a hike I have done many times, in the dramatic light of the late day. It is easy to see the swirling motion in this picture that leads the eyes throughout. It is often called the O composition. The juxtaposition of warm and cool colors makes it really sing. For the texture in the light areas I used an alkyd medium mixed into the colors.