Bristol Vermont Sep 7, 2026

Welcome back to A Day in Vermont!​

This painting was like reading a really good book as I didn’t want it to end. It’s a big one so it took some time. And it just kept asking for more. Since I’ve been away longer than my usual two weeks I’ll share the long story. ​

When it comes to my process, every painting is unique and proceeds at its own pace. I love it when the painting takes over and just pulls me along for the ride. The good ones often do. ​

I’ve been wanting to work a little larger lately, on the hunt for a very strong subject and composition. I found them last month in Bristol. We were just passing through on a different mission, but I always have my camera. Once a clear concept crystalized, inspiration naturally sparked. From this critical point the rest was just process. Thankfully I love the process. Each new painting I attempt suggests its own best strategy and process. If I’m willing to listen good things usually happen.​

Back in the studio I chose a few reference photos and played with the general composition, format, and cropping options. I often employ a (golden ratio) grid system to help map out my design, and did so here. From a photo or from life, I often do a quick pencil or marker sketch to really get my intention clear. I’ve never been sorry for spending 15 minutes on it. The opposite is also completely true. Rarely do I produce a preliminary study in actual paint, but this time I did four. This step was building up the courage to attack a very big panel.

In confronting the blank canvas, sometimes I start with a big bang, in accordance with the laws of chaos. That’s me splashing paint all over the surface with intuitive reckless abandon, and then working to coax order, design, unity, and some coherence out of that. Other motifs demand more attention to up-front draftsmanship in order to produce an accurate representation of things. In this case, I want it to look like Bristol. If I need some preliminary drawing on the canvas to get it right, it’s done in a minimal way. The danger of starting with order (aka detail) is that it’s very difficult to get back to spontaneity, abstraction, and power of the big statement. My best work is done when both elements of abstraction and realism are considered, related, and expressed. There’s always a certain sweet spot I look for at the intersection of opposing forces. Regarding the entire painting process, I so often think of the three bears. There’s always gonna be multiple options, but only one “Just Right”.

Over the next week or so I spent 4 or 5 painting sessions working in the studio. Consisting of two or tree hours each, I define a good painting session by forgetting what time of the day or night it is. It’s always a fun surprise to check the clock when my brain suddenly plummets back to normal operational activity.

At this point another “what-if” question arose. I often start a painting on location and finish in the studio. Since I started this one in the studio, why not try and finish on location? Good question! I packed it all up and headed back to Bristol last Wednesday. What a valuable lesson (re) learned. No matter what stage the painting, nothing beats standing in front of my subject, working directly from life.

Back in the studio again over the weekend, I added the final finishing touches, along with my signature. I could have kept on painting. They say paintings are never done… they just stop at interesting places.

Original Sold. Next Day in Vermont Monday, Sept 28.