this large piece was commissioned by ryan miller for the cafe vero in lake george new york. i used a variety of techniques in this work. i used a high impasto pointillist approach for the coffee , smooth glazed surface for the cup, textured faux woodgrain for the table and a combination of bars and dots for the water. i often use various methods of representation or visual vocabularies in my work to develop contrast, harmony, and to direct the attention of the viewer.
this large piece, done in high impasto, is part of a series i did which featured an almost stained glass like appearance. unfortunately, the photo does nor capture the sense of space and depth which this piece projects. when you stand in front of it you feel almost like you can walk into the scene.
this is a painting loosely based on many sunrises i’ve witnessed on the maine coast during our annual family camping trips. the color is exuberant while the piece itself is fairly quiet. it has an interesting feel because i’ve reversed the impasto and flat color field of the sky, as it is mirrored in the water. i enjoy painting mirrored images because they are nice metaphors for the work the painting does in showing my point of view. i suppose it is revealing that i am always drawn to both waterlines. the one that marks the soft infinite of the horizon and the one hidden in the shadows of the weeds are somehow more appealing to me than the stuff in between.
this piece is another in my series of high desert works. done in high impasto, it is of a view of the river leading into zion national park. it is a quiet autumn painting. fall in the high desert is marked more by soft yellows and intense blues, foreshadowing the piercing chill of the coming winter.
this piece was painted just outside the village where my family and i lived in southern france. the garden fields where i stood to paint this scene were between compregnac and the river tarn. it is an amazing place out of time. dolmen stand on the hills above the town, which was probably built on the remains of a roman villa that stood by the ancient ford. that sense of place out of time is the effect that i was striving for in this piece, and tried to keep everything is service of that goal.
this is another of a series of small ( 22′ x12′ ) paintings i did a while back. in high impasto, they are based on visions of the high desert. when i was working on my mfa in utah, i always loved the play of sage green sage against the sky blue sky and rock. in fact, before moving to utah, i lived in western new york and northern ohio; both very green worlds, and i really didn’t like the color green. absence, indeed makes the heart grow fonder.