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Artist Statement
at this moment
Oil Painting
2007
07.2007 Studying Art History with a Brush
Pictured here is my oil study for a large piece that I'm painting presently. I'm exploring the Classical / Baroque / religious genre of oil painting for possible future commissions. It's fascinating to have 500 years of religious painting at my disposal.
Irregularly Shaped Canvas..Just a gimmick or what?
Most of my oils are painted on an irregular shaped
canvas. It extends the geometric shapes beyond the square and rectangular
format. Shaped canvases can invite a whole range of possibilities. Obtuse and
acute angles open more possibilities than right angles. Six, seven, nine
sides are more interesting to me than four sides.
The shaped canvas has been explored very
little. I started shaped paintings in college and continued but stopped because It seemed like just a gimmick which is OK, but I felt like I was only groping. 10 years later I started to finish my shaped paintings and it was intriguing I was hooked, and I continue to this day.
Like Jazz, Controlled Spontaneity is . . . . .
. . . . . my creative process. This starts with the first step of painting, building the canvas stretchers. First I move
pieces of 1"x 2" wood on the floor until some shape/s interests
me. I rarely measure, using a bevel tool and pencil to record the angles that I want.
Usually I start with a triangle for structural strength and add on more triangles, always having a loose plan to allow for those wonderful majical accidents that occur in the creative process. From that point I build my stretchers, stretch my canvas, prime it, and begin to paint...
Painting . . . Rendering
I am intrigued with exploring the formal aspects of oil painting such as the
illusion of depth and perspective and the ability to achieve both with oil
painting. My painting process begins by creating a shape and deciding
what to do with that shape with color, brush strokes, application of paint,
subject matter.
I usually rotate the canvas on my easel trying different
positions. I use both brush, painting knife and sharpened points. I keep a
strict segregation of warm and cool colors on my palette, brushes and rags
to avoid a muddiness of hue.
The physical aspects of oil painting are my lifelong study. I research the process and techniques of oil paintings to aid me. The 500 years of oil painting lends so much knowledge of experience.
Subject Matter
I consider my work Expressionistic and sometimes Cubistic in that my emotions are portrayed in
the images, color, line, and brush strokes often witha Cubist format. Cityscapes also intrigue me with the geometric shapes of a city juxtaposed with the human form.
I have combined a cityscape with cubism in Bagdad.
Conceptual Considerations
I leave my works to be open to the interpretation of the viewer. My titles are arbitrary. I prefer to spark the viewer’s imagination. The work is emotional rather than literal. My titles are arbitrary.
Overall Goal
It is to gain control of the oil medium in all formal aspects with
Expressionism as a means of visual interpretation. Brush strokes, mixing,
various applications of paint to the surface on wood and canvas. Achieving
depth and emotion with this medium. To gain mastery over color and
composition and form, and yet to allow for experimentation is a balance I
strive for. 
There is a mystery in painting; how some colors work in some paintings and the same formula won’t work again on some other part of the painting. A certain single brush stroke can do more that some laborious attempt. I know it’s my skill and experience helping but sometimes I don’t know why it happened.
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