New Work



Raw Art

Artist's Statement
Artist's Profile
Contact information

Private Collections
Mural Archives
Maine Murals


Digital Prints
Offset Prints

Contemporary, impressionistic paintings of Maine and her people

Visual Dynamics
Lessons in the power of paint

Life is a lesson in communication. We are what we think. We express ourselves in terms of our thoughts. Painting is a dialogue that allows me to express myself without words. In a sense, my work is a silent witness of who I am. I find freedom in expressing myself in this manner, since I believe that often in life more is said in silence than any word can say. Many things in life just "are."

A good painting does not need to be explained I was once told. If a painting does not speak for itself, then no amount of explanation will convince the viewer of its value or justify its existence. A painting is a statement. There are good statements and bad statements. Whether paintings or spoken words, dialogue is consistent with the inner person.

Painting is an opportunity for me to be myself without explaining myself. I am what I am. My creative experience is personally challenging in that I seek excellence in all that I do. Achieving a high level of artistic ability requires discipline and a sense of principle. It also requires courage. My work is therefore not mechanical. It is a personal statement of who I am and how I feel about the world around me. In viewing my paintings, it is obvious that I am not a realist in the pure sense of the word. However, I do think in terms of reality and seek to convey real substance to the viewer by translating that substance into visual form. I believe a good painting has lasting substance, a quality that allows a painting to transcend the limits of time.

Practically speaking, I am a person who perceives the world around me with vibrancy. I like to engage life. I enjoy living. I take pleasure in the simple act of observation, finding it both relaxing and challenging. I see the world around me in various nuances of light, shadow, texture, shape, form, design, color, etc. My tools as an artist are more than brushes and paints, for I believe painting is based on understanding rather than mechanics. A painting exists in the eye of one's understanding, never in tools or technique. No amount of mechanics or "going through the motions of being an artist" can ever make a person be an artist. It is the inner depth of one's understanding that makes him or her an artist. Developing understanding takes time. This is why most artists achieve success only in their later years of life.

Someone once shared a saying with me that I have never forgotten. The saying is this: A laborer works with his hands, a craftsman works with his head and his hands, but an artist works with his head, his hands and his heart. In my case, this is true. I paint from my heart. As I regard the world around me, I am charged with inspiration. I see paintings everywhere. If it were possible, I would paint them all; but I have learned to live in this overflow of crea tive energy by being selective in what I paint. Not every painting needs to be painted. Some paintings remain in the heart.

My work is known for its vibrancy of color and form, often expressed on a large scale. When I pick up a paint brush, nothing intimidates me. I am in my element and I get down to business with great abandon. I find pleasure in translating the world around me in terms of how I feel rather than conventional perception. I use the language of color to interpret and convey a visual dialog that speaks to the viewer's emotions. Many people do not understand the role that color plays in life. Most live in a colorless, dead world. Thus confronting my paintings can be a shocking experience to some people. However, the freedom I enjoy in utilizing color expresses a world that lies beyond surface reality. I like to think that my work causes people to stop, think, and reassess their own perceptions of life. My paintings can thus be considered controversial or a catalyst in a healthy sense. I enjoy challlenging myself and hence, my viewer. Technically speaking, I like to explore the elements of painting and sometimes push them to extremes. I love color and form and I love edges. I love the definition of form in space and the movement created thereby. Though many objects in life are stationary, I believe all matter is in a state of motion. As I view forms, I perceive their edges in terms of vibrations of color: energy that is in constant movement. I like to emphasize these vibrations in terms of color.

Those who view my paintings liken my style to that of Van Gogh or some of the other more flamboyant Impressionists. This comparison most likely stems from the strength of my brush stroke and use of color. My work is also reminiscent of the Fauves, a school of post impressionist painters who rarely mixed colors, preferring to use only pure pigments straight from the tube- a simplicity that is challenging to the artist as well as the viewer. Apart from the Impressionists, my style has also been compared to the German Expressionist school of painters and the early works of Edward Munch whose paintings reflect a strength of style that is both passionate and intriguing. Personally, I relate to the work of American Impressionists such as Childe Hassam, Mary Cassatt, Benson , Frederick Frieseke, and John Singer Sargeant. Were I to admire any artist, Sargeant would be that person. His command of the brush and medium gains my utmost respect. Not many artists, I believe, have achieved the quality and scale of painting that Sargeant experienced.

Like many artists, I believe I am my own best critic. I create challenges in my work so as to grow in my creative experience which, in essence, is my life.

For my 2003 solo exhibit at the Harlow Gallery, Hallowell, Maine