The grid has always played an important part in my work. My earliest works consisted of colored pencil grids on large canvases. One reviewer wrote “Despite the rigorous regularity of the strictly spaced lines, an almost diaphanous softness is created through the color of the lines changing at intervals along their lengths: vague patches of pastel colors-yellow into pinkish and violet in one area shimmer off the surface.”
My later work which incorporated the landscape used irregular grid shapes through which the landscapes are viewed. These airbrushed, stylized landscapes are stripped to basic shapes with chromatic mists of varying densities. The paintings are carefully balanced between the hard edges of the grid and the soft diffusion of the landscape forms.
I then began to explore more saturated colors and instead of the airbrush, which produced very soft, diffused colors, I began to use oil bars and oil pastels. My theme remained the same… straight lines juxtaposed against the organic landscape forms but these paintings had an energy that my earlier paintings did not have because of the technique.
My next series of work incorporated architectural images as an important element of the painting. A more recent series often included animals.
In my next series of paintings, rather than juxtapose the hard edges of the grid against the organic landscape forms, I merge them into a “weaving”. Rather than having recognizable landscape forms, the grid itself is composed of the colors and abstract or stylized shapes of the landscape. The colors and shapes may appear to be random, but they are carefully mapped out to evoke an interaction between viewer and painting which alters one’s perception of the “landscape”.
In my latest series of paintings, I have just been focusing on flora. Although recognizable as flora, they are more abstract. I start with a photograph I have taken, work with the images digitally, then print it and complete it using either oil pastels or colored pencils.
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