When I started landscape painting seriously, over 10 years ago, I felt frustrated with the results: that I wasn't saying anything different than anyone else could or had. I tried every media, all styles and approaches to the subject but couldn't quite latch on to any originality. I was most influenced early on by the impressionist painter, Monet and his close-up, abstracted waterlily paintings. I was also attracted to Matisse's cut out paper-paintings and W.M. Turner's sweeping, romantic, ethereal scenes. I was motivated back then to continue in this rich history of art of nature and landscape, but wanted to do so with a modern voice, a contemporary style, and approach to painting that spoke to my peers and was of its time.
In 2006, I switched media to collage and started building landscapes with torn magazine pages in a painterly fashion. That, for me, was the beginning of saying something interesting especially when I began fabricating my own papers to collage with. In my current work, I am translating my collage work into large scale, acrylic paintings that, through color and texture matching, model the flat space, abstraction and hard edge lines of the earlier work.
The piece, Ox Blood_Range, pictured above, is an example of work from a new series about the Continental Divide/Rocky Mountains. Forcing a horizon line that really doesn't exist in the mountains, I am illustrating the geologic event that causes the uplift and what we see as the known reality vs' the layers below the horizon line that drives the creation.
I'm so lucky to be living in the heart of big mountains from the dry western slope to the soaring peaks near Denver, it's an epic landscape painter's dream world. I'm also happy to share my work with the awesome folks up here at high altitude. Thanks for a BIG warm welcome to Denver! I couldn't be happier with my decision to relocate here.