The merger between abstraction and realism is the primary factor for my art.
Natural and man-made surroundings are the inspiration, subject matter and the vehicle for my creations. My work in Maine has a considerable history of examining elements and iconography related to seascapes and working waterfronts – often including boat hull components, island shapes, horizon lines. These landscapes and vistas, which make up my daily existence, are taken in and filtered through my lens of perception and emerge as my work, often with distorted shapes, skewed perspectives and intensified colors.
Beyond creating visually engaging and pleasing works of art, I strive to stimulate a visual dialog with
viewers. I seek to encourage others to look more deeply at the connections between their own
memories of the environments and objects that impact their lives - as I pursue those that influence
mine. I seek to establish a visual vocabulary of marks that create an artistic language to understand
the spaces which surround us.
ISLAND GEOMETRY: MONHEGAN
After 15 years of visits to Monhegan, I have created a new series of paintings focused on the way I see and experience the island. I have taken hundreds of photographs of the island during my hikes for use as personal reference back in my studio. My photographs serve as compositional leaping off points and references to help recall certain elements about Monhegan. As each painting developed, I clearly stepped away from the photograph as my internal sense for abstraction and paint evolved to reveal my personal memory of place. Monhegan’s iconic reputation and the successful artists who have made it a large part of their art career are intimidating, however, I believe my predecessor’s would approve of what I’m doing and that my work adds valuable content to the existing visual dialog surrounding the island.