Daniel Alan Gordon
"1972 Polaroid"
25” x 37” x 1.25"
Oil Paint on Hardboard
The genesis of this piece was to paint a tree; or maybe even more specifically, the spirit of the tree, but to do so with a palette reminiscent of an old Polaroid camera shot. In the process of creating the painting I let the faded palette recede and laid over the vibrant blue. I really like the energy of the horizontal blues against the more subtle orange browns, and wanted to let the paint light up the crown of the tree. I suppose with its ultimate vibrancy the painting more resembles that initial moment when you would peel back the paper off the Polaroid photo rather than the view of that photo in its faded state years later, and I’m good with that for this piece.
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"A Day at the Beach"
21” x 17” x 1.25"
Oil Paint on Hardboard
The sky in this painting drove it creatively. Meaning I laid down many layers of paint to get the color and action I wanted, but the final effect came only after I sanded back the colors with a fine grit sand paper. I sometimes sand sections of a painting to set up the next layer of paint. However, in this case I had enough layers of paint so that after sanding the smoothed effect could be left to stand on its own.
This smooth surface and the rich blue backdrop inspired the horizontal swatch that I painted toward the lower half of the painting. This swatch is intended to be its own mini abstract painting of the sand and beach along the shoreline. I love the juxtaposition of the two elements and like that the painting works two dimensionally, but has a sculptural vibe as well.
"A Safe Harbor for Bill"
23.5" x 33" x 2"
Oil Paint on Hardboard with Basswood Carving
This painting began with my friend Bill’s boat; but then it expanded in ambition and methodology. At the completion of the piece, it was still about Bill’s boat, but the boat and its surroundings now exuded so much emotionally and structurally. The boat sits on the pond that is part of Bill’s home. I learned of the boat while creating a painting of the property for Bill and his wife Shayne. I was struck by the way Bill could retreat to the boat in the middle of his work day; a place of refuge, no doubt. Not only that, but I admired how he can conduct business calls from the boat while floating out on the pond. The ultimate remote office in this Covid era.
As I worked on the painting, with the boat as its soul, it allowed me to build a varied composition around it. The narrow vertical panel at the painting’s right represents the beautiful and varied flowers and shrubs on their property. The carved and painted panel to the left represents the boat’s wooden structure. The water, the tree line and the sky form a horizontal triptych against which to lay the boat. My goal was to take all these elements and balance them together, much the way I do when I design a piece of furniture.
"A Stir in the Force"
13” x 25” x 1.25"
Oil Paint on Clayboard
Recently I did a commission inspired by my clients’ trip to Iceland. In researching the piece I quickly learned how dramatic and varied the Icelandic landscape is. My clients were extremely open and welcoming of my various interpretations of Iceland. The commission spurred multiple pieces, as most of the commissions do. This painting is one where the dramatic rock formations set the proverbial stage for a dramatic sky. Iceland has no shortage of such scenes. The piece transcends the Icelandic landscape. Viewers of this one often see Southwest US locales and others; so I felt the Star Wars reference made the piece a bit more ubiquitous.
"A Study for Her"
12” x 17” x 1.5"
Oil Paint on Hardboard
This is a study for a commission started back in the Spring. It was about finding some base colors and a vantage point that could work for a larger piece. Lavinia, in particular, fell in love with the piece. She responded so quickly to its colors and the sweep of the sky against the ground. It was useful for working out what the large scale commissioned painting would eventually be. The particular mix of blue and yellow/gold pigments with this piece continue to impact my current work as well. The studies I produce for commissions have become so integral to the commission process as well as informing my other speculative work.
"Basswood Bronze Flowers"
19.5” x 8” x 1.25"
Carving on Basswood
Over the years, I have found the three flower motif to be a great starting point for a new composition. In this piece I wanted the flowers to be surrounded by flowing lines that could evoke nature’s energy. This piece like “Family Tree” is carved from one block of basswood lumber. I create the design in a progression of drawings on vellum and then transfer that drawing to the block; making any adjustments to the design if the wood I am carving “calls” for it.
For the next step, I use a series of traditional carving tools to bring the piece to life by cutting and sculpting the design. Next, I roll ink onto the block and transfer that design on to paper by passing the whole assembly through my press. I have done this process countless times, but about 10 years ago, I had a realization. My gentle epiphany was that often the block has such a beautiful and worn patina of its own, after multiple printings, that it stands on its own as an art piece, separate of the prints. In fact, I have produced whole pieces of furniture and wall hangings upon this premise.
So after producing a run of prints from these carvings, I “retire” them and prepare them for their next creative chapter. That includes further sanding and carving and then culminates with the application of new ink and paint to bring them to their second life as their own distinct piece of art. These pieces age beautifully, and I love the multiple lives they have through the creative process.
"Black Fish Creek,
August 2021"
18” x 18” x 2"
Oil Paint on Clayboard
This past summer Lavinia and I made our second visit to Blackfish Creek in Wellfleet, MA. I find it to be so inspiring. It just encourages an artistic response; a painted response for certain. This painting began within a day of arriving at Blackfish Creek and I love that it helps me to hold on to the feeling of that place and I love that I can share that feeling with the viewer. The rustic cabin we stay in there has housed other oil painters through the years-definitely a special spot.
"Blue Berkshire Birches"
16” x 19” x 1.5"
Oil Paint on Hardboard
We had the opportunity to spend time in the Berkshires this past year in both the fall and the spring. This painting was an unfiltered response of mine to time spent among the trees there. With my landscape work I really am trying to evoke the feeling of a natural scene as much as a description. This piece is all about the feeling of those trees.
"Bronze Linen Deep Purple"
17.75” x 13.5” x 2"
Oil Paint on Linen
This particular painting took quite a bit of time. There are two floral motifs that are layered underneath the final painting you are viewing. I started with a traditional floral bouquet motif but kept painting additional layers, leading me to this final version with its increased motion- an animated movement of violets and copper and bronze.
"California 1971"
19” x 30” x 1"
Oil Paint on Aluminum Board
I was 8 years old in 1971 and this painting is inspired by the grand idea I had of California as child growing up in Connecticut. Through popular culture, i.e. books, film and TV, I had a pretty fantastical idea of California as a place and destination. It so captured my imagination that when I was 21 I drove across the country alone to see it for myself. Once out there, I camped along the beach in Carlsbad, CA and found a job; but soon headed back east…upon arriving back to NJ, I met Lavinia…things definitely worked out! But every once in a while I contemplate the romance of that time; grateful I made the trip.
"Cantilever"
17” x 21” x 2"
Oil Paint on Hardboard
As a furniture maker I have always been drawn to architectural drawings and contemplating how interiors interact with decorative elements. Those elements can be free standing furniture, built-in cabinetry or, most obviously, paintings. This painting takes on all those themes. It is notable how viscerally appealing the cantilever idea is-some very inspiring examples can be found in the architecture of Frank Lloyd Wright and the amazing Conoid chair by George Nakashima.
"Cherry Blossom"
20.5” x 31” x 1.5"
Oil Paint on Aluminum Board
I am drawn to Japanese art and its traditions surrounding craft. This piece pays homage to Japanese design, as seen by placing the cherry blossom branch in the foreground of the landscape. A theme I return too often. I employ the printmaking techniques I used in the painting, “Magic” here as well. One of my favorite features of this piece is the Tiffany-like blue that makes up the sky. This too was created with multiple layers of paint, but in this case, the blues needed to be more opaque than the foreground colors, for example.
"Collective Wisdom"
9” x 15” x 1.25"
Oil Paint on Aluminum Board
With many of my landscape paintings, I am working to connect all the elements of the painting, not just visually, but also in spirit. This piece speaks to that very clearly because of its simplicity of composition. I like to think that although the layout and content is rather straight forward, the layering and blending of color can speak volumes. In this case the old dignified tree symbolizes wisdom for me. I often see trees as symbols of wisdom. I think it is their patient, resilient growth that embodies that for me.
"Color and Free Thinking #1"
12.5” x 17” x 1.5"
Oil Paint on Aluminum Board
Color and Free Thinking #1 and #2, are a celebration of color in the form of a landscape. I know that may sound a little backwards in terms of creating a composition and laying down color for a painting. But these pieces grew out of a revelation I had several months ago that often a painting’s composition can be driven by color as much as it is driven by structural lines. Sounds obvious once you say it, but adhering to certain principles of composition are always present in my thinking as I paint-even when I choose to break those “rules.” Thus, in creating these two works, and others for this show, I freed myself to lay down vibrant colors in a sort of universal landscape that opened the door for even more directness and passion in its execution. The paintings are meant for feeling a landscape as much as it is for conjuring one.
"Color and Free Thinking #2"
12.5” x 18” x 1.5"
Oil Paint on Aluminum Board
"Compassion"
22.5” x 4.5”
Oil Paint on Multimedia Board; Case is Artist Grade Hardboard Hand Wrapped with Book Cloth and Silver Leaf
I have always been fascinated by the art of bookbinding. I suppose it's the marriage between the art of writing and the art of presentation/casework for that writing that so resonates with me. It’s a little akin to the art of building musical instruments and the art of creating music. So when I had the inspiration to marry my paintings with a book bound case I was off and running. After quite a bit of prototype work, I am thrilled to present five hand bound triptychs for “Everyone is Magic.”
The paintings grow organically out of the naturalistic themes of flowers, trees and landscapes. Obviously, a subject close to my heart; but, I love how the three panel effect takes the composition to a new place. In fact, I am currently beginning two large commissions that involve original compositions spread out over multiple panels.
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"E=MC Untangling the Universe with a Hand Drill"
25" x 19” x 1.25"
Oil Paint on Hardboard
I remember in school, when writing papers, my teachers were quick to guide me to narrow my focus or thesis. The wonderful thing about art is you can abandon such constraints, at least sometimes. Here I do that, as you can probably guess by the paintings title.
This piece started out as an assembly of objects I gathered into my shop and arranged in a way I thought most interesting. I used that to create the bones of the composition and once I had the framework I really could excavate themes of spirituality, meditation, magic and more. I took chances with this piece in terms of the painting process, but also emotionally as I did the work. The painting truly took on a life of its own and I suppose carried me along with it-it’s quite something when art does that-I’m grateful.
"Early Path to Inness"
17” x 21” x 2"
Oil Paint on Hardboard
With this composition I am experimenting with some components of a landscape painting. I created a border that contains floral elements of the foreground, and then I use that to reframe the landscape. The thin blue lines further frame the central landscape motif. I am constantly reframing and rethinking the process of creating landscapes. I recently made the discovery of George Inness’s work and in researching his work, created over 100 years ago, I am getting insights into my own. I created this piece before my deep dive into George Inness, but I realize now, that particularly with this painting, I was tilting toward this kind of analysis even before I could put words to it.
"East Hampton - Anticipation of the Surf"
18” x 21” x 1.25"
Oil Paint on Hardboard
I have always been enamored with that moment when you are near the ocean, sometimes in a car or while walking, when your vantage point to the surf and the beach are obscured, but then you get a glimpse of the water. Sometimes the road is high enough that as you look through the car window you get the full impact of seeing the vast ocean up ahead. Sometimes you are just walking the path to the beach, and you get more framed views through the high seagrass and catch a glimpse of the water. Either way, it is always exciting and grows anticipation of getting close to the power and innate attraction of the water. This piece’s composition is all about that feeling.
"Family Tree"
20” x 13” x 2"
Carving on Basswood
This piece gets its title for the obvious tree reference. Additionally, upon finishing the initial carving of this block, both my children spent a day in the shop with me, and we produced woodcut prints from it. A true family affair in the way of creating; the best kind of day as far as their father is concerned.
For this exhibition I have created several pieces that feature trees. The shift of mediums to carving from painting for this tree shows some of my intent from a different angle. The successive rows of grooved cuts I make in the block for the piece’s foreground and sky bring the motion and energy for this design. I do this with my paints in many of the works in this exhibition, but it is always meaningful for me to express similar ideas in multiple mediums.
The fact that I can display a piece like this alongside my paintings in one exhibition means a lot to me in discoursing with my audience.
"Finding Our Place in
the Universe"
16” x 18" x 1.5"
Oil Paint on Hardboard
The genesis for this painting came during an early morning walk while visiting St. Marten. As I looked at the changing sky with the clouds over the water and the light coming through, I felt inspired by the moment. I have always liked the morning; as I get older I seem to appreciate the mornings even more. This scene encouraged me to lay out the sky with wider sweeps and strokes of color than I had employed previously. This became instructive for me as I painted other works after this one.
"Flower Shop in Brussels"
41.5” x 31.5” x 2.5"
Oil Paint on Hardboard
This painting is an overt homage to the design periods of Art Nouveau and Arts and Crafts. The whiplash curves of the flower stems are a key element from the Nouveau period. I am using that shape here to create movement. The background colors are many layers giving the richness of texture I wanted to frame each of the brighter flowers. My intent here is for the background, coupled with the tight curves of the stems and the bright and deep colors of the flowers, to get unified in to one harmonious composition.
"Fort Hill, Cape Cod"
14” x 14” x 1.25"
Oil Paint on Clayboard
Our family has been making a summer trip to the outer Cape for over twenty years. Much of that time has been spent in Eastham. It was only this past summer that Lavinia and I discovered the Fort Hill neighborhood/area. We were immediately drawn in by the paths that wind through the beautiful marshland and water views of this area. For most of the hike along the designated paths you are above the water ways and sea grasses. It is a quintessential Cape Cod scene and one I want to keep visiting in the future. I painted this upon returning from the hike that same morning.
"From Hartford to
New Britain"
25” x 19” x 1.25"
Oil Paint on Hardboard
While growing up, my Mom’s parents lived in Hartford, CT, and my Dad’s parents lived in New Britain, CT. This painting is inspired by the interiors, and even a bit of the shrubs and gardens, that I enjoyed while visiting them. There are many layers of paint to this piece-that is important to the look of the piece, but also symbolic to the origin of its inspiration.
The memories I have of both homes are precious and sometimes difficult as I remember them as an adult. My sister and I had such wonderful times in these places, but we also witnessed the deterioration of our loved ones while there. Ultimately, the love of those people is what stays with me; I am grateful for that and truly humbled by the finite quality of time.
"From Montauk
to Montclair"
14” x 17” x 1.25"
Oil Paint on Hardboard
I began this painting while spending a few days out in East Hampton, Long Island, earlier this year. I was responding to the various terrain I saw out there. The area is beautiful and filled with vineyards, farms, etc. I continued to work on the piece when I returned home. I found another key influence to guide the work when Lavinia and I made a trip to the Clark Museum in the Berkshires. While there, we saw multiple works by the 19th century painter, George Inness. As I explore and learn more about Inness’s work and process I feel a kinship to him and his overall approach. He lived in Montclair, NJ for the last 9 years of his life and the Montclair Art Museum has many of his works as well. His ideas about landscape painting and the place of the spiritual in such works really resonates with me.
"Golden Valley"
23.25” x 37.25” x 2"
Oil Paint on Hardboard
The foothills and valleys of mountains have always captivated me whether here in New Jersey, in this case, specifically Long Valley, or where I grew up in Simsbury, CT. Simsbury sits in the Farmington Valley surrounded by both modest and prominent mountains. I leveraged those places to drive this piece. This piece was part of a commission I had undertaken, and I wanted to offer some variety to my client. By using yellow and browns I felt the palette could capture the energy and beauty of these valley landscapes.
"Gratitude"
26.5” x 6.25”
Oil Paint on Multimedia Board; Case is Bookbinding Board Hand Wrapped with Book Cloth and Copper Leaf
I have always been fascinated by the art of bookbinding. I suppose it's the marriage between the art of writing and the art of presentation/casework for that writing that so resonates with me. It’s a little akin to the art of building musical instruments and the art of creating music. So when I had the inspiration to marry my paintings with a book bound case I was off and running. After quite a bit of prototype work, I am thrilled to present five hand bound triptychs for “Everyone is Magic.”
The paintings grow organically out of the naturalistic themes of flowers, trees and landscapes. Obviously, a subject close to my heart; but, I love how the three panel effect takes the composition to a new place. In fact, I am currently beginning two large commissions that involve original compositions spread out over multiple panels.
"I Arrived Today"
30" x 20” x 2"
Oil Paint on Hardboard, Silver Leaf, and Hardware
This piece contains so many of the ambitions I establish as I begin any of my works. Combining the human figure with painted and textured background has intrigued me for years. I realize such traditions go back to the work of Gustav Klimt: seems obvious now, but I only realized this of late.
The cutting of the cabinet into the surface of the painting certainly has roots in my furniture making background but the key motivating factor is having the ability to go inside the painting, literally and figuratively. This piece resonates with me to the point of inspiring me to write a poem to accompany it; appropriately enough it resides in the piece’s own cabinet.
I also include a small landscape painting in that cabinet; another juxtaposition of themes, although visual and not poetic in this case. The multidimensional aspect of this piece is territory I am looking forward to exploring further.
"Integrity"
22" x 6.5”
Oil Paint on Multimedia Board; Case is Bookbinding Board Hand Wrapped with Book Cloth, Yew Wood, and Copper Leaf
I have always been fascinated by the art of bookbinding. I suppose it's the marriage between the art of writing and the art of presentation/casework for that writing that so resonates with me. It’s a little akin to the art of building musical instruments and the art of creating music. So when I had the inspiration to marry my paintings with a book bound case I was off and running. After quite a bit of prototype work, I am thrilled to present five hand bound triptychs for “Everyone is Magic.”
The paintings grow organically out of the naturalistic themes of flowers, trees and landscapes. Obviously, a subject close to my heart; but, I love how the three panel effect takes the composition to a new place. In fact, I am currently beginning two large commissions that involve original compositions spread out over multiple panels.
"July 5th"
19” x 37” x 2"
Oil Paint on Clayboard
This piece was conceived and completed in the heart of the summer and feels like that to me. It evokes floral fireworks and just feels like the day after the 4th, when you can still smell burnt gunpowder and find the spent wrappers of fireworks on the ground. I used a lot of printmaking transfers to create the background of this piece and did so over multiple days. I was very taken with the effect it gave me, and it seemed to just invite the bright floral motif I then painted over it.
"Late Morning at the Beach"
12.5” x 17" x 1.5"
Oil Paint on Hardboard
I had a chance to spend some time at a very southern point of the Jersey Shore last summer. I think this painting the feeling of that part of the shore, as well as the time of day. It inspired and pushed my palette in subtle ways. I had to work to not "tinker" too much with the painting upon returning home. Now, I am grateful that I did leave the colors and composition as it was when I originally painted it while gazing out at the beach. I think its vitality comes from that very direct take on the scene.
"Love"
25.5” x 7”
Oil Paint on Multimedia Board; Case is Artist Grade Hardboard Hand Wrapped with Book Cloth and Copper Leaf
I have always been fascinated by the art of bookbinding. I suppose it's the marriage between the art of writing and the art of presentation/casework for that writing that so resonates with me. It’s a little akin to the art of building musical instruments and the art of creating music. So when I had the inspiration to marry my paintings with a book bound case I was off and running. After quite a bit of prototype work, I am thrilled to present five hand bound triptychs for “Everyone is Magic.”
The paintings grow organically out of the naturalistic themes of flowers, trees and landscapes. Obviously, a subject close to my heart; but, I love how the three panel effect takes the composition to a new place. In fact, I am currently beginning two large commissions that involve original compositions spread out over multiple panels.
"Magic"
19.25" x 25.25” x 2"
Oil Paint on Aluminum Hardboard
This painting is guided by my love of Japanese art and design. I wanted it to feel multi layered and reference the cherry blossom images I often see in Japanese art, while also evoking the garden where those blossoms might be growing.
This piece is part of a group of works I produced in which I used some printmaking techniques to create thin glazes. I placed multiple thin layers of paint over each preceding layer so I could yield a more luminous background. Sometimes the effect is water-like, but in this case it has the subtle and delicate depth of the blooms and leaves of the trees and shrubs I see in my own yard.
"Montauk"
13" x 17” x 1.25"
Oil Paint on Hardboard
Our family’s Long Island trip allowed me my first experience of the beautiful Montauk beaches. We took a ride out there at dusk and I painted this following that experience. This particular seascape inspired me to create the cloud action featured in the center of the composition.
The Long Island trip and the paintings I produced during, and directly after, ushered me into some expansions of my painting palette that I continue to evolve and experiment with. More specifically, as this painting shows, I am working to create even more subtle blues, grays, umber, and deep ocher colors.
"Optimism"
8.5" x 10.5” x 2"
Oil Paint on Hardboard
This landscape grew out of images of rolling hills and fields where grapes are grown for wine. The beauty of those fields allows you to suspend your day-to-day thoughts and take in the sun and the beauty of their unique landscape. I love that such places blend natural beauty with thoughts and ambitions of craft, whether it is making wine or creating a painting. The brightness of the sky and the animated greens and yellows of foreground give this piece a brightness of outlook, thus the name Optimism.
"Organic Geometry II"
19" x 13” x 1.25"
Oil Paint on Aluminum Hardboard
We all have those periods, sometimes days, sometimes weeks, when we have thoughts bouncing around our heads and hearts but cannot fully articulate them. If we’re fortunate, eventually those ideas do crystallize into something cohesive and understandable. This painting is the physical manifestation of one of those periods for me.
The mixing of the geometric and the organic are a constant source of inspiration for me. It is the way so much of the world presents to us. With this piece I was able to succinctly express those ideas in the painting’s layout and the use of color. The fact that the piece is on linen adds further to the texture I was after. I relish this piece because I could express what I had been trying to for a while and once “said” I really liked the result.
"Resilience"
25” x 7”
Oil Paint on Multimedia Board; Case is Bookbinding Board Hand Wrapped with Book Cloth and Copper Leaf
I have always been fascinated by the art of bookbinding. I suppose it's the marriage between the art of writing and the art of presentation/casework for that writing that so resonates with me. It’s a little akin to the art of building musical instruments and the art of creating music. So when I had the inspiration to marry my paintings with a book bound case I was off and running. After quite a bit of prototype work, I am thrilled to present five hand bound triptychs for “Everyone is Magic.”
The paintings grow organically out of the naturalistic themes of flowers, trees and landscapes. Obviously, a subject close to my heart; but, I love how the three panel effect takes the composition to a new place. In fact, I am currently beginning two large commissions that involve original compositions spread out over multiple panels.
"Rosie's Window
18" x 22” x 1.25"
Oil Paint on Aluminum Hardboard
My daughter Rosie’s room has always captured beautiful light, especially in the morning. It is located in the North East corner of our house. Looking out one of her windows, I was taken in by the light and even more by the arrangement of the branches of the young maple and dogwood trees. When Rosie left for school last year, I started to meditate and do my yoga in her room in the mornings; this view is very grounding for me.
"Sag Harbor"
20" x 26” x 2"
Oil Paint on Basswood Plywood
My son Sam is a photographer and chases sunsets and sunrises much the way I do. I love that he finds such inspiration and joy in them, and finds ways to express his feeling for them through his photography. He suggested we make the drive to the beachhead from which this painting is inspired. He set up his tripod and got some amazing shots. I soaked in the view, as well, and felt inspired to respond in my own medium.
I actually created the painting upon returning to New Jersey. To create the piece I chose a painting board that I used previously. The under painting gave me a highly textured “blank” canvas to work form. Beginning with this surface allowed me to give the painting a subtle yet impactful atmosphere that captures how the sea, sun, sky and rocks made me feel that evening.
"Study in Red"
24” x 38” x 2"
Oil Paint on Canvas
For this painting I resurrected a piece of canvas from a work I had done several years ago. The under painting created a sealed surface but still had some original canvas texture bleeding through. This surface inspired me to really work the reds. They are very sensuous by their very nature. Next came overlaying the floral motif. This is as much a nod to flowers as it is an abstract mechanism to show motion. Another form of liveliness for the piece is the radiant blues that work against the red background.
"Sunrise Over
Eider Lane"
18" x 18” x 2"
Oil Paint on Clayboard
Eider Lane is up in Eastham, Cape Cod. Our whole family has been spending a week there for the past three summers. From the home’s backyard is a great view of the Cape Cod marshes. And just around the corner from the house is the Cape Cod Bay. I set up my easel upon arriving and paint for the whole trip.
The sunrises experienced from the second floor of the house are particularly dramatic, and it is from that vantage point that this piece was generated. The painting then evolved throughout the trip. To me it feels like a classic impressionist painting.
"Thank Goodness
for a Window"
31" x 16” x 2" (each panel)
Oil Paint on Hardboard
I am doing a lot of work these days with compositions that stretch over multiple “canvases.” For example, triptychs or pairs. For this piece I resurrected two painting panels that were part of a previous painting. I sanded them, but left remnants of the original works so that they might bleed through, further creating the windowed effect.
I also employed the rectangular lines to further define and highlight some under layers. The original paintings’ colors and line action were indispensable to creating the windowed effect I was after. This work is an overt reminder to myself just how long it takes, and sometime how many attempts it can take, before I arrive at work I feel is complete and impactful.
"Warner's Garden"
31.75" x 21.75” x 2"
Oil Paint on Hardboard
Warner in this case is a reference to an extremely fine house painter who I worked with back in the 90’s. He took house painting to an artistic height that I had never witnessed before. He applied so many coats of paint to an ordinary wall with such care and craft that the wall radiated with a spectrum of color. This painting exemplifies that for me. The flowers are inspired by our family walks in the Spring. Somehow, amid the pandemic, the flowers and plants were more radiant than ever.
"Waterfall, Iceland"
19" x 25” x 1.25"
Oil Paint on Hardboard
I had not painted a waterfall scene until this piece. I loved building a composition around the waterfall and this one was inspired by three different waterfalls I researched while working on a group of paintings about Iceland. This painting and its companion piece, which became the commissioned work, allowed me to push the expressiveness of the paint.
I very deliberately built layers as I usually do, but also created thick brush strokes by which the paint was laid on the board; using the underlying layer to further animate the next layer of paint. This process yielded the vitality I was shooting for.
