When I was a kid I doodled in several sketchbooks. One sketchbook was devoted to observations of nature: insects, leaves, twigs and animals. I fancied that I was in training for the next Darwin expedition on the Beagle. Later, I would travel to live on an island off the coast of Maine and spend the summer observing the fascinating life cycle of barnacles. I designed the class t–shirt for this project with an image of semi-balinous balanoides.
In another sketchbook I doodled monsters, sea dragons, spaceships and aliens. I imagined I would be on the first ship to the moon or mars, not as an astronaut but as an artistic observer. Recently I was privileged with having several illustrations published in sci-fi and fantasy publications.
In art school I tried to convey an interesting perspective on light and shadow and form and color with the various mediums that interested me. I would use many aspects of distortion and color contrasts to highlight the forms in my paintings and prints. I often chose odd colors and made them a secondary component of a piece’s realism, but an essential component to the definition of the form I was representing.
In the past few seasons I have been taking mental snapshots of landscapes for future paintings. As a subject, landscapes are ever-changing and a constant source for form and contrast. The same hillside will change an infinite number of times throughout the day; therefore the paintings of this landscape can be repeated and repainted and enjoyed in an infinite array of combinations of color and shadow.
In the past year I have explored a narrative style of painting where a story is inferred but not completely told through an expression, glance or gesture. I am working on printing my first children’s book, entitled “Rhed”, about a young girls adventure in the woods, “where nothing really bad happens and the wolves aren’t mean”. I hope to make the book as delightful to look at as it is to hold and read.