My paintings reflect work done on two coastlines—one in France on the south coast of Brittany, (near Pont-Aven)—close to grain fields and cliffs; the other in Rhode Island, on Sakonnet Point—near salt marshes and beaches.
The fields and farms, rivers and trees, and the rocky shores of both places are jumping off points for my main preoccupations: color, edge, and structure; a balanced tension; and a distillation of the abstract and eternal from the concrete and specific. The work ranges on a continuum from figurative to abstract, and is done in a variety of media (oils, acrylics, inks) and on a variety of surfaces (canvas, board, paper).
I like to work large, possibly a result of the years I spent (on a detour from “fine art”) doing ceramic tile painting. That medium sparked an interest in the repeating, reversed, and rotated patterns common in ceramic surface decoration. I painted many tiles for the Boston Museum of Fine Arts catalog and store, and during that time developed an affinity for a square format. I have studied at the School of the Museum of Fine Arts in Boston, and at the Decordova Museum School in Lincoln, Massachusetts. That said, I agree with the perhaps anachronistic idea that artists should do their work and leave its interpretation to others. A work of art must succeed visually on its own merits. For me, this is both the fun and the struggle of painting.