My high school art teacher has been on my mind, Mrs. Forsyth. Mrs. Forsyth sparked something in me. She wore Marimekko dresses and lectured us on how to wear clothes so the fabric had the proper drape. She introduced me to early and mid-20th century European and American artists, work that continues to inspire.
I’ve studied drawing and painting with a number of teachers in Minneapolis and in the Boston area. Joy Dai Buell, of Gloucester, persuaded me to give up watercolor for acrylic and taught me how to get brilliant color and texture from acrylic paints. Jon Imber invited me to join his Stonington, ME Workshop just a year before his death in 2014. The brief time I had with him inspired my current practice and subject matter.
Outside of painting, much of my creative life is expressed in words. Words travel across the page, acquiring meaning with their forward motion. Paintings, instead, stand still. The difference interests me. To stand before a painting is to be drawn in.
My paintings are a form of journaling. They evolve from the psychological and emotional experience of a given moment. I spend a lot of time in the woods, so often the paintings are woodland scenes. But as seasons and moods change I might suddenly shift to a different subject, a different palette and rhythm. The whole of my work has coherence as a record of passing time.
I work with heavy bodied acrylic paint thinned and kept wet with an open medium. Lately I have been working on polished wood panels in a square format. This combination of hard surface and flexible paint allows me to work the painting hard, adding paint, taking it away, adding again. Collage elements or pencil marks sometimes find their way into the image. Painting can be a struggle and sometimes the best paintings put up quite a fight.
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