In viewing a landscape, real or represented by a painting or photograph, one "reads" the elements by examining landmarks and categorical references (sky, land, water, etc) to form sense of what is being conveyed. When a reference parameter is changed or typical landscape features minimized, it can appear as if the landscape could represent any number of possible scenes.
Adrift has a razor sharp and straight horizon line suggesting that one might be looking at a seascape. Yet the foreground has a curious mix of yellows, greens and darks that could be endless fields or greenish-blue ocean waves! No other reference exists in the picture to guide one's interpretation thus allowing imagination to take over. The scene can be whatever the viewer wants it to be.
Adrift, Acrylic on canvas board, 16"x20, NFS
Those of us blessed with normal vision are bombarded with images every waking moment. But a scant few of these actually make a memorable impression. I imagine the images that are meaningful enough to be recalled are unique for each of us even if we see the same common scenes.
Afloat is inspired by the endless bands of color that can be seen from an airplane window at sunrise and sunset. Because of the high perspective there is often no clear anchor point with which to orient oneself. Some color displays (such as when flying the polar route from the US to the far east during the summer) can be so spectacular and prolonged as to remain in memory forever.
PS: The slight glare on the surface is simply my error in taking the photo after applying the acrylic sealer.
Afloat, Acrylic on canvas, 18"x24", $100
Sometimes wielding the brush with high energy is the only way to come out of a slump. Covering the canvas with a sense of urgency helps me to get past the barrier of inertia after a period of not painting.
Modernity is done with a large brush and knife. The dominant color is black which I don't use a lot but in this case it just seemed right.
Modernity, Acrylic on canvas, 16"x20", $100
