Intro

All of my work is about light. Forms may be back lit,  infused with, or the light may fall upon the objects be it a human figure, a construction site,  or a vase.

Recent Figure Paintings

    How does it feel to be in the female body from the inside out? Ten years ago painted myself partly as a positive gesture to middle age. I painted myself in a handstand, showing off and in daring poses sneering at the false construct about age. This is work about the body from the inside out, and setting up the stage. It is not really about sexuality, while it can be, these paintings are more about being inside the body. Light patches are a key to understanding the psychological state. For instance, does it weigh heavily, is it oppressive, or not? Light illuminates and obscures. Identity is obscured, the face is often turned away or obscured in fragmented shadow or blinding light.


    When I draw with the paint I attempt to make my strokes become the forms; I make them luscious and tactile. It is always about the paint, the feeling of it as well as the spatial sense. Light plus space, as reduced as possible constructing the forms out of paint strokes are what I think about, the work comes out with a strong psychological component no matter what I do. 

   My cityscapes and scaffold paintings began as an investigation into understanding basic structure, top and side planes and eye level and scale. Using that knowledge I could then increase my visual vocabulary. I could  paint in a way that is not pictorial or illustrative, but with a feeling of compressed space and architectonic structure.  Still Life contributes to my involvement and experimentation,  I can have a blue, red or green color world in any subject that I choose.


  The  forms, planes, lines, space and making the shapes work and the figure or objects believable is what I think about. It comes out with a strong psychological component no matter what I do. There will always be that component.