42" x 36"
Oil on Handbound Canvas
This portrait gains its inspiration for the background primarily from the abstract works by Gershon Iskowitz he created later in his life. Many of his watery works are bleeding from colour to colour, but still take up space as their own primary form.
The portrait, however, has taken the colour scheme to a more muddy, complex level. I mix colours further and use colours in unusual ways, especially in the skin. The portrait is almost like an alien, a slight unsettling coolness in the skin and fire tone in the hair. To top it off, the hair is slightly chipped away, revealing grey colour. Is this unusual saturation, or goodness, covering up something, imperfect, maybe even non-living?
Oil on Canvas
32" x 36"
This abstracted Pastel Landscape was a journey with a new impasto (thick-application) technique I was practicing, while I was also working on my ability to meditate during the painting process. My intention was to look at the blank canvas as an opportunity, rather than having expectations for a 'perfect' painting. I painted with presence and patience for the 'answer' of the painting to come to me. It was the first painting to usurp a mental 'blankness' from me, and I found the experience helpful and convinced me to continue with this introduction to making new works.
This painting is heavy and must be hung firmly on the wall or from the ceiling with a minimum of two screws/fasteners.
24" x 30"
Watercolour on Paper, Framed
Watercolour Sea was a work where I honed my technical skills referencing detailed imagery while painting, but proceeding with abstraction to carry my idea further. Painting with watercolour can limit your ability to layer paint, or can provide you new opportunities. I try my best to allow a watercolour painting to do the latter.
What does the imagery in Watercolour Sea evoke for you? Do you assign a narrative?
2 panels ea. 16" x 20"
Oil Paint, Printed on Canvas
Peony Diptych was an experimental artwork used to understand the fiscal differences of a work that was created with tools originally intended for alternate mediums. I created the floral tattoo-like design on paper and cut it to be a stencil, then proceeded to 'paint' using rollers intended for lino-cut printing, while using impasto oil paint. The resulting image was bright in some areas, yet subdued and inverted in the peonies. Warm and inviting, this painting would welcome a closer look and would look good hung any distance apart from one another.