My intent as an artist is to capture a moment of an experience and to
draw the viewer into a feeling of intimacy with that moment. The inspirations come
from everywhere - nature, personal experiences, philosophy, current topics,
even technical problem solving. I do not have a big singular vision. It is more
like a fascination with the realm of possibilities. I feel like I am always
immersed in an act of discovery.
The different styles I work in are all facets of my creative spirit, each
demanding its voice to be heard at various times. Sometimes a technique
will expose a nugget of an idea that then blossoms and other times it will take
all the skills I have just to adequately articulate an idea I want to get across.
Landscapes are probably my deepest artistic core. i strive to get past the
pretty picture to show the spiritual aspects of the natural world, a world where
light has weight, clouds have souls and trees stand witness to the unfolding
moments that occur when our attention is turned elsewhere.
The Process of Monotype
Monotype is a printmaking process in which an image is painted on a metal or
plexiglass plate with ink or paint. The plate is then sandwiched to a
sheet of dampened paper, and passed through a roller press. The image is
transferred from the plate to the paper. Only one clear, fully detailed impression is
produced; with a fainter second impression, called a ghost, possible. Monotype has
been used to great effect by artists since the 18th century.
William Blake, Degas, Mary Cassatt and Picasso worked in the medium, as do contemporary artists
Richard Diebenkorn, Mary Frank and Jasper Johns.
The difference between a montype and a monoprint is that a monoprint is
made by manipulating ink or paint on a plate whose surface has been engraved or
permanently marked in some way. When each impression of an edition is
pulled, there is a recurring element that appears in each print and the variable
inking or coloration makes each one unique.
Reverse Painting on Glass
An image is painted on a sheet of glass starting with the foreground
layers and highlights and working through to the background. The glass is then turned
around and the image is viewed through the glass. In my use of the medium, I paint the image in a single layer with oil
based inks-color next to color or more often, in monochrome. By varying the density of
the ink against a white background, I can create contrasts of light and dark and
varying saturations of color.
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