My work as a painter can be divided into two divergent categories: 1) gestural abstraction and 2) representational.
I paint abstract paintings that can best be described as “improvisations” of inspirations from nature and the world around me. No preliminary sketches or drawings occur but rather I rely on my intuitive response to color and form as the painting develops. Juxtapositioning areas of thin, transparent color with bold strokes of opaque paint I suggest time passing.
I use brushes, squeegees and pallet knives on the floor and pinned canvas on the wall. Frequently I draw into the paint with charcoal and oil bar, thus achieving a layered effect. Working into the paint, I continue until an equilibrium of surface space is realized. At this point the painting takes on an independent reality of its own.
The floral arrangements are smaller in size and painted directly from observation. As a gardener, I am thoroughly acquainted with flowers and respond readily to their intrinsic beauty and variety. As classical subjects for painitngs they are flexible and can be freely interpreted in unusual ways.
My handling of brush and paint become as important as the image, and the combination brings energy to the painting, ties the image to the surface thereby unifying the painting.