I try to capture, in birds, for instance, either the subject’s extreme stillness (a heron fishing) or it’s opposite. I find the best way to express a bird’s edginess on a limb or briskness in flight is by rough, almost blurred outlines, similar to a sketch, rather than smooth finishes.
My work in oils involves applying layers upon layers of paint and is highly influenced by my early classical training– particularly the study of light on form.
“I’m painting what I love; what grabs my attention and makes me pause. Mornings and evenings are particularly inspirational because colors can be intensified, and light can make the ordinary interesting. Boats, whether for work or play, merge with the seascape. And coastal trees stand out like resolute figures, and I appreciate their determination. “
My subjects have included marine, landscape, and intimate domestic still lifes. They share my interests in the effects of light at a particular moment. The threads of the canvas, the sea, Vermont, Maine, my family, and friends have woven themselves inextricably into my psyche and my work.