Painting water is about fluidity.
Can I capture the sense of movement? Living on Cape Cod so close to water, allows me to visit and explore the beach. I always see something new in the water. Peering down, I realize the transcendent quality of life itself. Painting water is on-going and I am experimenting with printmaking and encaustic to re-interpret.
PLACE TO PLACE/DRAWINGS “Drawing From a Moving Car”
I started to draw from a moving car a number of years ago. As a passenger, highway images fly by at breakneck speed. I draw in a frenzy trying to catch a glimpse of something that has already passed my vision. A truck becomes a lamp post or a billboard becomes a tree,etc. It’s an enjoyable game of juxtaposing images on top of one another and discovering a different dimension. I have come to love the immediacy of line and gesture and the approach has significantly spilled into my paintings and prints as well.
PLACE TO PLACE /PRINTS “Drawing From a Moving Car”
I drew the same as before. Instead of paper, I used laser plates that are lithography plates that are thin enough to be fed into a printer. I used to work in traditional stone lithography. But these plates are portable and can be printed with my etching press. The ball point pen or permanent markers deposited grease onto this water-loving litho -plate. I simply took the plates back to my studio and printed using the lithographic process. People ask me why I work this way. But the advantage is that the lithography plate provides a matrix that can be used in countless ways. I can also print a lithograph in any color and am not limited to black. Experimentation is my delight. In these prints, I combined lithography with the monotype process. The linear part of the image is the lithograph while the colored areas of the print is a monotype. Hence it is called a litho-monoprint. Because of the varied use of color, these are variable editions, (VE). Can you find another print with the same matrix?
DRAWINGS / FLORIDA
In Florida, I was inspired by palm trees and their movement in the wind. The series is called, “Palms in the Wind”. It was an obsession to try to capture the point of crescendo and stasis like music in nature. This is only one of many that reached the dimensions of 6 feet. Some were part of a solo show at Cotuit Center of the Arts. And three were in an invitational at the Duxbury Art Complex and featured in an article by Robert Knox in the Boston Globe.
DRAWINGS / CAPE COD
Living on Cape Cod now permanently I have a different response to trees and wind. Here the trees and branches react differently with their gravitational movement towards one another and then how they pull away. The wind pulls things together in mass and the reaction to movement is more subtle. There is a pattern to be explored in this “push pull” phenomena and that sense of pattern has spilled into my current work.
PAINTINGS / FLORIDA & CAPE COD
Painting is direct and fluid. I work in acrylics as well as oils . But I am always curious to see how colors react and like a child, I respond with immediacy. I want my paintings to exude a life of their own. Some were painted directly from a window overlooking a golf course in Florida. I am always on the hunt for new surfaces. Here I used acrylic paint on CansonVidalon paper. The smooth surface of the paper and the fluidity of the paint seemed to correspond to the moment and it’s immediate reaction. At other times, it is strictly paint on canvas or panels. The immediacy has more to do with the feelings I have at that moment.
For me abstractions are all encompassing. They are a way to connect with your self and others. What we see and experience in our daily life may seem insignificant at first. But through the creative process itself, the image starts to slowly emerge somewhere from inside. The experience and memory has just been resting in a subliminal state and just waiting to assert itself. That’s how all my abstractions come about. This image, “Labyrinthine” came out of an experience I had as I walked along a roadside and saw an unusual thicket of vines. You could enter it and get lost, I thought. Then I went home and later in the day, started printing and somehow the experience kept asserting itself. Rather spooky I think, but none the less significant. Because we are actually talking about the universal language that abstractions have. It was accepted in the Southcoast New England Printmaking catalog for an exhibition at the college of Visual and Performing Arts Gallery of the University of Massachusetts, Dartmouth, MA. a long time ago but it still resonates.