Classical realism with a very painterly approach.
What does that mean?
My paintings are a reflection of classical art. There are many layers of paint, each one drying before a subsequent layer can be applied. This defines the classical approach. I begin quite loosely and abstract with shapes appearing intrinsically. I work quickly, covering the entire canvas. Soon, the painting develops and evolves. If this technique is abandoned, the spontaneity is lost and the painting risks becoming contrived and overworked. With each layer comes more paint, building up into thick, juicy, lusciousness – thus the painterly approach.
I love this part of the painting process where ghosts of shapes emerge only to be entombed in paint and then perhaps to re-emerge.
Composition, for me, is an extremely important element in a painting. My landscapes and still lifes are well-thought out. They are a study of my surroundings and objects carefully orchestrated to lead the viewer through the painting. I want their attention to stay focused and to navigate the entire picture. I want my audience to linger…and to enjoy what he sees. This is accomplished through balance, scale, lighting and perspective – just to name a few. All of these elements (plus more) are the foundation for a good painting.
But more importantly, what matters most, is the reaction and response of the audience. If what I am trying to express or convey is lost, then the painting falls short. It is paramount that my emotions are transferred through my work and to the viewer. My landscapes are a study of my surroundings along with what attracted me to that particular location. That is my inspiration, my impetus. They are not literal copies of what I saw but more expressions of how I felt and therefore responded. I want the viewer to understand how I felt. I want him to react to my painting, the way I reacted to the scene.
If my paintings cause someone to stop in their tracks, and gaze, and study, and think, and it makes them feel good…well, what more can I ask for.