I have always had some sort of connection to the sea. The smell of it, the feel of it, the calm and the fury... Etched in my mind and one of my earliest memories is a story my grandfather told me of landing at D-Day, wading through the water to the shore, and the flash of a camera bulb in his face--his photo and that image taken by Robert Capa went on to become a very well known photo of that day and my first vivid connection to the sea. Recently I have taken various directions in my work.
My Maine Series is all about process---I want my viewers to feel the hand that made the work, feel the weight and depth of the water, smell the spruce and the cold heaviness of the air. In the series I pile on heavy, deliberate strokes in the sea or restrain with a dry brush to create an arid landscape or windy feeling in the water and sky.
Another recent collection has been driven by the palette of old Autochrome Lumiere photos (the first color photos) and the various color tensions that arise from such palettes. Muted blue-greys and faded creams are punctuated by deep blue-black hues and the injection of red to create tension and drama.
I am exploring man's connection to the sea in these collections--and the war and peace of the sea both by palette and stroke.