Artist Statement

Philosophy
To be an Artist is to be in search of what is good, beautiful and true in life, while consenting
to one’s natural ability with joy and gratitude in order to share it with others.

Method
My method is lyrical and poetic, where all contact is direct with each piece and dedicated to
revealing working in the moment of creating. The work embodies a representational
foundational method with an integration of the impressionist and expressionist schools with
my vision, and my training that was rooted in the academy’s classics where the
organizational drawing is an illustrative narrative, while keeping the traditional subject of the
landscape,

I look to enhance natural beauty by bringing forth the transcendent and the invisible of what
is occurring as if what is below the surface, for my brush is dancing upon the atoms of
colors.

Through my brushwork, I look to capture through color movement multiple contrapuntal

motions, such as what is in music: contrary, similar, parallel and oblique movements. It is an
inventive shorthand looking to contain the 3 components of the rhythmic energy of
impressionism: sensitivity, tempo, and charge.

My palette is composed of juxtaposed colors. My color selection is based upon my plein air
experience of working in an intensity and movement of the light of France’s Provence Cote
d’Azur, and in Italy’s Lazio, Tuscany and Umbria, and New England’s coastal regions.

In finishing up the work, I seek to complete it in the moment of the experience where the
environment of light through colors are dreamt into existence, applying expressive elements
thus creating an image poetry piece with jazzical notes, thereby creating a freshness of an
American Impressionist piece.

Materials
I prepare my canvas of linen and cotton in the classical way, and implore mixing my own
colors onto the works.

Statement on the ArtWorks

How the label as an abstract impressionist came to be a settled description of my
current and past work.

In seeking to expand on the legacy bequeath to me by my mentors, I looked to honor the

foundation of their different traditions by bringing them forward in my own way.

The impressionist were inspired by the industrial revolution with its speed and convenience
of pre-made paints and new colors, along with advanced modes of transportation, and new
ways of capturing what they saw now by the camera, and then the beginnings of cultural
sharing with Asia.

Our transportation today takes us deep into the oceans and out far beyond into planetary
travel, with cameras morphing into electron microscopes to the Hubble telescope bringing
back unimaginable images. With globalization, distant cultures are now co-mingling in real
time and space, and also virtually. One cannot help but be influenced. This expansive path
from a hunting, agrarian, industrial to now technological age will only speed up.

While some artists look to reflect the ideology of their culture, others look to predict the
future. Yet here my work of the past decades speaks of my experience of being surrounded
by nature.

Tide Pools series, as the title states, represents an ever-changing fluid eco-world that is
filled with life. I can not help but reflect upon these tiny systems, a microcosm of the larger
cycle of life that which sustains me. I am moved to awe and wonder as the tide pool reflects
the sky, seeing the birds above and creatures below interacting as if they actually were.

The fluid dynamics of the water, the pull of the tides by the moon, the swirls of wind and the
changes of the atmosphere which surrounds me becomes my muse.

In the Provencal series I was exploring the classical influences of the impressionist
masters, to build on their ideas to move them forward, yet being true to the many
approaches from optical mixing, simultaneous contrast to be in respect to their inventions as
the gateway to modern art. Impressionism in its flexibility is sweet yet dynamic and thought-
provoking. I looked to express in color and form the vitality of my plein air experience
painting in France and Italy.

In the Shepherd’s Pass series I wanted to move into expressing more of a post
impressionist mode by deconstructing with lyricism, while not fracturing in hard edges; so as
to work more organically and fluid both consciously and unconsciously. Each one is an
illuminated memory of my plein air experience of the light and atmosphere, in addition to
sharing that with my students the food, wine, and culture of Italy and France.

The two Waveny Park pieces are a variant on American Impressionism where the pictorial
narrative and sense of place was fully established. However, my sensations while painting
in the meadow overrode the accuracy of nature with a poetic narrative of color and mood.

Weir Farm Series runs the full range from natural to post-impressionism, yet always having
the themes of the American pictorial sense of place with an accurate drawing underlying its
foundation, that moved into areas of abstraction to express my passion of the moment and
thus was ignited by poetic expressionistic and fauvist sense of color.

Compline is a recent piece, a work honoring New England. It is a culmination of what I

developed and experienced from those decades painting and trekking through the northeast
in the 70s to the 90s, and what I have discovered from moving through different styles and
periods of my work. It is one of humble expression of gratitude to America and the American
impressionists.