Artistic Process, Techniques, Philosophy

Philosophy

       As an artist, I believe that there is always more to learn and that the style of a true artist will be constantly evolving.  If you consider the works of the great masters, you can see what I mean. One example is Van Gogh.  His early "Potato Eaters" looks nothing like "Starry Night."  Yet each was born of the same passion for the subject.   To be creative, you must have an open mind and a hunger to expand your vision.  During the Renaissance, the artist was not content to just paint.  He was also an inventor, a student of nature.  To paint what you see without learning about it . . .  feeling it. . . is to paint without understanding why you put down the colors.  In other words, study the rose, before you ever pick up the paintbrush.

Artist's Statement

       The creative endeavor has always been a deeply rooted need for me. From an early age, when other children were outside playing, I had the urge to sit in my room and write stories or draw pictures. A high level of energy manifested itself into late-night artistic projects which were unpopular with my working-class parents, who considered me an unusual, but talented child. My life has been one creative effort after another.

       In my work, I aim for the recognizable, but with playful abstractions.  Many of my works begin with plein aire paintings and are supplemented with photographic studies, but I deliberately avoid the realism that can be duplicated with a camera.  In a sense, my current paintings are expressionistic.  A lot of emotion is applied to the canvas along with the oil paint. I portray images that stir my soul or warm my heart and hope that those feelings come through to the viewer. I have been told that they do. I believe that there is enough hardship and sadness in the world. A painting should be like an oasis. It should be something that can lift the spirit and transport the viewer into a tranquil place away from everyday cares. It should say something about the artist and her view of the world.

       I believe that the viewer should also be able to feel the artist’s energy and see the process of painting. The combined use of palette knife and detailed brushwork contribute to this visual and emotional experience. My technique evolved from an initial love of detail.  I grew up in a household of self-taught craftsmen.  My grandfather was a carpenter and made beautiful violins. My grandmother and mother taught me at an early age to draw intricate designs on eggs, known as “psyanki”. My father’s brother dabbled in the arts and supplied me with mechanical drawing pencils, brushes and paints.  In the 70’s, I was fascinated with abstraction and produced works in that manner, using a variety of media. When I moved to the country, I became more attuned to nature and my paintings began to reflect a sensitivity to the simple forms in the landscape. From that point, my work gradually became more and more realistic. During the study of printmaking under Paul Edwards, then Chairman of the Art Department at Washington and Jefferson College, I was influenced by the etchings of Rembrandt and the technical skill of Michelangelo. I bought a huge etching press from the college and immersed myself in that process for several years. At that time I also worked in watercolors and my paintings emphasized great detail.

       Today, working exclusively with oils, I strive for an overall loose interpretation, using small amounts of detail to emphasize the focal point. Some of my paintings reflect the influence of the post impressionist fauves such as Raoul Dufay and Paul Gauguin.  My landscapes are studies in light and atmosphere. I have developed a passion for capturing slices of nature that appear untouched and uncharted by humans. These rapidly disappearing habitats are jewels that deserve to be preserved, if only on canvas.  I am often on location before dawn, in an attempt to witness and photograph the glory of a sunrise. During these special lighting conditions, normal coloration of vegetation and bird life are naturally altered to the point of abstraction. For anyone who has never seen a raspberry-colored marsh at sunset , my paintings often appear surreal rather than realistic.

       As an artist, my work is still evolving. While some artists strive to achieve a recognizable color palette or subject matter, I become easily bored. To achieve higher levels of expression, an artist must constantly seek new ideas and new ways of doing things. As with any profession, I also believe an artist should also continually study with other masters to improve or gain insight into other techniques. My latest master-course was with world-renowned wildlife artist, John-Seerey Lester.

       Throughout my artistic career, my objective has been to create and sell art.  I have not had the time, nor the inclination to pursue awards and competitions. A little voice also keeps telling me that art is for expression of the soul, not for building resumes or seeking honors.  When someone purchases one of my paintings, it is the greatest compliment.  Hopefully,  it will bring pleasure for many years and through it, viewers can share my vision and feelings toward the subject.

On Art Education

       In his masterpiece, "Artist in His Studio", Picasso gives the painter a third eye.  While this seems strange to the viewer, it tells us something about the study and nature of art which is similar to what many educators have been saying for years..  The third eye of the artist represents his keener sense of perceiving the world around him.  The training of the eye affects an individual's  whole intellectual makeup, which enables him to see more clearly and thoroughly.  This concept is known in the educational field as visual literacy.  Those who have it are more sensitive to the environment and more sensitive to people around them.  They can use their minds creatively not only in the arts, but in the sciences as well.  These are the benefits of art education which make it so relevant and important for our youth today.