I was taught perspective when I was ten. Telephone poles trailing off into the horizon, forming a zigzag pattern I’ve since forgotten. I was fascinated with the concept of perspective and applied it to all my drawings until the feeling for it came naturally. I started to love drawing and spent days on a single image, perfecting its placement and detail. Later, I started painting, and from the beginning found a deep satisfaction.
I describe my style as offbeat realism. Realism with just enough of the stage out of place to make the viewer pause. I try to express whimsy and solitude through subtle and poignant imagery and am drawn to paint big, open spaces. The vast sky over the Colorado high plain with its enormous, multi-layered clouds or Marin County’s rolling open hills is where I like to begin, never knowing where it will lead.
I think of painting as a skill acquired through practice and a painting’s composition as the measure of an artwork. As such, I put a lot of time into the composition of each painting. I look for balance between interaction and space and try to express meaning through a veil of ambiguity. I’ll have an idea, roughly put it on paper and pin the sketch to the wall opposite my easel. For several days, I’ll turn from my current painting to the sketch and work out its composition. When it’s complete, I’ll transfer the sketch to a canvas and move forward with it as I complete the other.