How observations become constructed abstract landscape paintings
I live on a peninsula in Maine. My natural environment influences my life, my art, as do the vicissitudes of the world.
Fog and gray skies may influence a color palette while social injustices frustrate my psyche and influence compositions. I’m not a political artist nor an environmental one but that does not exclude social and ecological concerns from influencing compositional content. Ducks beating their wings and bleating a tattoo as eagles screech and dive at ducklings are reminiscent of crowds fleeing or scuffling with oppressors and bullies. These thoughts can translate into opposing colors with a density of marks competing for space.
Conversely, the serenity of a mirror like surface with pale hues of a sunrise, or low tide flats and golden grasses might materialize as a smooth pastel color with flecks of gold. Terns fishing, diving repeatedly, creating ripples of reflected light remind me of researchers, clinicians, and first responders returning to their jobs over and over… ideas that may translate into repetitive patterns. Observing life and time pass are the substance of my Tide Poem paintings.
My Epiphany series references water differently; the water surface is a boundary between three environs: the water, land, and sky. Watching seals breach, birds fish and light refract or glow orange, pink and now fire orange, and clouds reflected stimulate thoughts of habits and mortality. What if we could break free from old harmful ideologies and dogmas? What would freedom look like? Or the the color of cognition and contentment?