Intaglio prints are built and developed from a number of successive episodes of work on a zinc or copper plate. A print generally develops from a drawing and through several techniques to apply aquatints for light and shade, texture is created by scraping, burnishing, and polishing, and through numerous stops and resists in baths of acid. This process for me develops a printing plate that shows these workings to make a rich, interesting surface and dynamic image. Traces of each stage and process remain evident in the final print.
From my experience in printmaking I approach oil painting in a similar way. Planning, organization of composition, and the successive application of layers of paint, thin to thick, smooth to textured , ultimately move a painting to completion. My paintings seem to develop autonomy, a sense of becoming unique through the painting process. I enjoy seeing traces of drawing, the finding of color through over painting, and simplification by brush stroke or pallet knife application of the final layers of paint. Ultimately paintings take on their own identity through the interaction of processes recorded on the canvas.
Landscape paintings have dominated my work recently. The western landscape is a fascinating opportunity to paint expressive landforms and expansive sky. I allow myself as much freedom to use bold color and gestural brush strokes to depict the place, and evoke atmosphere. I’ve experienced moments of awe inspiring light at sunrise and sunset, and sensational atmospheric changes during storms. I’m also mesmerized by the common place: a field, a farm, or a structure. Capturing those moments inspire my images and paintings. The calm transitions of the seasons motivate me to explore the relationships of color, while I rely heavily on intuition to guide the outcome of my paintings.