Methods & Materials
It’s no secret I love to paint. Maybe you do too?
For those of you interested in the technical side of things I offer the following details of my process. That process evolves daily. It’s my favorite part. I contradict myself often, change my mind frequently, and experiment constantly.
If my uniform doesn’t get dirty, I haven’t done anything in the baseball game.
I enjoy working in a variety of media. In all cases I use only the highest quality of artist grade materials available. Integrity and longevity should be important concerns for the artist and collector. I am personally committed to creating art that will stand the test of time.
Each medium has its advantages and inherent limitations. Subject, mood, time constraints, and even painting environment influence my media choice.
Watercolor is an incredible medium. I respond to its spontaneity, transparency, and all manner of organic destiny. I use a variety of techniques and most often choose to work wet into wet for prolonged periods in order to maintain a soft edge dominance. The untouched paper serves as “white” and must be reserved to reveal the full range of value from dark to light. I most often use Da Vinci artists’ watercolor. Big tubes of paint help lead to rich juicy paintings. I use 100% cotton rag acid free papers in Hot, Cold, and Soft Press textures by Fabriano, Lana, and Waterford.
Watermedia paintings are more adventurous and experimental. I may use a variety of water-soluble components such as gouache, acrylic, inks, and pastel. Watermedia adds the visual quality and physical attribute of opacity. Contrasting transparency against opaque areas can yield stunning results. It also allows for lights to be painted over the darks. Watermedia substrates include watercolor paper, gessoed watercolor paper, rice papers, collage, Crescent watercolor board, and Ampersand hardboards. I enjoy the tactile experience of collage and choose it when I want to impose an organic textural element.
With oil paint a complete range of opacity is possible, as is the delicious buttery brushstroke. I use a variety of artist grade paint brands, brushes, knives, and painting substrates. Currently my preferred support is a double oil primed Belgian linen mounted to hardboard. For a very smooth surface I use Ampersand Museum Series Gessoboard.
Regarding the popular question, “Do you paint on location, from life, from photos, from sketches, or from your imagination?”
I love painting en plein air. Nature is the greatest teacher of all. Many of my smaller pieces are done on location. For larger work I prefer to sketch on site and gather a few photos for reference back in the studio.
Go looking for inspiration. Find subjects that speak so strongly to you that you can’t wait to paint them. Immerse yourself in the energy of the location, and then it won’t matter how you bring it home alive – sketches, studies, or photos – just as long as your passion is stirred. Put that into your paintings and see what happens.
The process of making art is a swashbuckling adventure of surprise, evolution, and discovery. One thing ALWAYS leads to another. I enthusiastically seek and inevitably stumble upon new methods, techniques, ideas, and processes. I combine, modify, and play. I fail and succeed in equal measure. Failure, by the way is part of an artist’s job description. Embrace it in the name of progress and improvement!
And regarding the idea of talent, I agree with Mr. Godin:
Actually, it goes the other way. Wouldn’t it be great to be gifted? In fact…it turns out that choices lead to habits. Habits become talents. Talents are labeled gifts. You’re not born this way, you get this way.
I am often asked what “style” I work in. In my view style is simply an authentic voice. Like distinctive singing, handwriting, personality, and fingerprints, we are all different. Thank goodness for that. Style is an ever evolving synthesis of influence, experience, interest, and genetic disposition. Something unique and personal emerges from the long earnest hours of doing.
Hopper said “If I could say it with words there would be no reason to paint.” That makes sense to me.
Forced to provide a “formal” category of my style with words I might answer: I’m a hopelessly romantic contemporary impressionistic exhibitionist of idealist realistic and symbolic semi-abstract representation honestly manifested as a sincere expressionism of gratitude.