The Energetic works are my most recent paintings and represent a divergence from literal realism and the incorporation of expressive gestures. The abstract shapes around the figures are my interpretation of the animal or plantís energy and attitude. I do not see these things when I view my subjects, but rather, I translate my impression into shape and color to convey this to my audience. I have chosen to use wild nature as my subjects because I appreciate the stability and purity of their self. A tree does not have an identity crisis, it only is what it is. Animals exist with minds uncluttered by the sort of worries we fabricate. Instead, they simply exist, present in each moment.
In the Tool Shed paintings, I explore painting metal objects in a state of decay. I incorporate dead insects, dried plants and other peculiar objects. The subject matter is unified by color palette and the rugged and sharp nature of the objects. While the colors are muted, the surface texture and oddity of these objects creates interest which compensates for the lack of bright color.
My Cattle series sprung from my enjoyment of watching the field of cattle near my parents home in Missouri. I was inspired to start painting the red and brown breeds of cattle in spring. The strong contrast of their red hides against the vibrant green of fresh spring grass is dramatic but also natural and soothing. I think cattle have a lot of possibilities for interesting close-up compositions because their stocky bone structure creates surprising curves and angles. Still, they create a peaceful and harmonious atmosphere grazing in a field. In my paintings of cattle, I seek to convey this tranquility as well as to create movement through composition.
My Reflections series consists of highly detailed, realistic paintings of cookware, faucets, flushers and other reflective metal objects. I enjoy the study of these objects and how they distort their surroundings in many delightful and humorous ways. The humor in these works is universal and often viewers carry the vantage point of these works with them. My original inspiration for this series was making faces in my motherís pots as they sat on the stove.
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