In a way I'm starting over...
I wanted to make images. I liked making figures, representing objects, making space and distance and form, pattern and rhyme and rhythm and, well, things you can recognize. But I came to painting the art dialog in America was one that contrasted a generation who had pushed hard towards pure non-objective abstraction with an eye to seeing the result as a kind of symphonic musical equivalent against what eventually fell to just copying photographs to achieve what was to became a very stark mechanical reality... photo based realism... I wanted to create something else...something that could talk. I liked metaphor, I liked poetry. It isn’t that I didn’t like abstraction, that would be like saying I didn't like music. I did. But there are things non-objective abstraction can’t say...things it won’t talk about even as it is the substructure of everything we see. But while atomic structure is the basis of of all physical existence it really doesn't tell you much about the guy down the street. There are simply subjects on which it is mute due to scale perhaps or focus. So ...
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Basque Bridge, 1997
Watercolor (original artwork),
5.5 x 4 X 0.1 inches
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Boston Commons, 1997
Watercolor (original artwork),
5.5 x 4 X 0.1 inches
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Alans Field, 2006
Watercolor (original artwork),
5.5 x 4 X 0.1 inches
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| US$ 150 |
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Day Lillies, 2008
Watercolor (original artwork),
9.5 x 8 X 0.1 inches
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| US$ 350 |
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Evening Light, 2008
Watercolor (original artwork),
9.5 x 8.2 X 0.1 inches
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| US$ 350 |
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Row of Trees, 2008
Watercolor (original artwork),
9.5 x 8.2 X 0.1 inches
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| US$ 350 |
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