Artist Statement

I have come to painting by a circuitous route having worked for over 25 years as a sculptor. In 2000 I found that I could no longer sculpt due to a physical injury and took up watercolor as my creative outlet. After studying watercolor for five years I have arrived at two styles of painting that satisfy me and I find fulfilling.

A realistic work requiring a more exacting rendition of my subject is offset by an abstracted, somewhat geometric background. The Santiam Longhorns Series, Alpha & Beta, First Party, and Snowy Egret all exemplify this technique.. I enjoy working in this style and feel I can communicate a sense of the subject. In the Snowy Egret I feel that one grasps the sense of isolation of this particular bird in its distant setting. In Santiam Longhorns, the steady gaze of the animal looking out at the viewer tells us that perhaps there is more than meets the eye. Alpha & Beta, two cats I have known, surely convey that Alpha (in the foreground) is the primary cat in this relationship.

The pour technique that is the starting point for the Opus Series and the Technicolor Cows Series permits a spontaneous reaction to the color as it is set down on paper. Using watercolor crayons along with negative painting draws the subject off of the page as I work on the painting. This is almost the opposite style of painting used in the more realistic work described above. It is wonderful to use the watercolor crayons on top of a pour and find the colors layering on top of one another ever changing the dimensions of the work. The layering of the crayon, pour and negative painting adds a depth to the visual work that is so exciting to me. In spite of the technique, I feel the Opus Series conveys a sense of serenity, particularly Opus I Number 6 which, in its monochromatic tone, imparts an aura of calm. The Technicolor Cows, drawn from the same subjects as the Santiam Longhorn Series, is exciting in their rich red hues. These are powerful animals yet, in their leisure in the pasture, they are languid—a contradiction that isn’t often considered.