Frances Fawcett, Susan C. Larkin, Daniel McPheeters, Diana Ozolins, Nancy V. Ridenour, and David Watkins Jr.
I’ve delved into a vision from earlier in my life when I was particularly fascinated by painting smooth gradations between hues, and particularly between complimentary hues of similar value. The two large works here, the triptych, “The Curtains in the House of the Metaphysician,” and “Machine in Field,” are from that series of paintings. I gradually morphed into painting gradations involving the stronger value differences shown in “Wings 2” and “Cave Light.” and finally into mixing gradations of differing hues and values altogether, represented here by the small piece “Wings 3.”
During the past year trees near my home have caught my full attention. Shapes, textures, curves, and faces have popped into view on the same trees I have passed by for years. I’ve enjoyed my time in and near the woods during this season of pandemic worries.
I find myself constantly intrigued by forms in nature. Trees are particularly fascinating. While each is easily identifiable by its morphology, they are all individually sculpted by their environment, resulting in their unique shapes and complexity.
My latest series of abstracts range stylistically from hard edged biomorphic shapes reminiscent of nature, to expressionist figuration distilled from the subconscious. From black to white through multiple shades of warm or cool gray, they explore a remarkable range of color made from mixing only blue, brown, and white.
There are many opportunities for the adventurous photographer. I enjoy recording nature, architecture, cityscapes, and travel. This collection of black and white is very diverse but reflects my desire to create something new and different.
I have a vision in my mind as to what and how I will be able to capture what mother nature offers in the way of fall color. She never disappoints even though the depth and range of color can vary greatly from year to year.