Detail - Impasto & Abstraction

Texture & Brushstrokes: 
This scaled photo shows the actual size of the thick impasto of the paint of a 2" x 4" surface area on a       5 foot x 5 foot original painting.  Note how the organic brushstrokes and the consistency of the thick paint combine to provide the painting with unity, depth, abstraction and the qualities of sunlight filtering through the forest.

Floating Maples Autumn Tangle - 36" x 36"


Technically, a traditional landscape painting commences in the distance and progresses through painted layers to the foreground.  In the Light Through the Trees Series, the artist reverses the traditional approach by beginning with the foreground and passing slowly through the scene, finishing with the final brushstrokes of distant pure light bursting onto the surface of the canvas.  Reverse painting results in a creation with no two colours painted over each other, consequently all the brushstrokes are laid upon a white canvas with the bright white ground exploiting the translucence of oil paints to create an effect similar to that of stained glass.  

Abstraction and Reality:

Glimpse - Evening Song Lone Aspen 13" x 13"

Upon first glance, my paintings appear to be a traditional representation of the forest, however, upon further viewing one begins to see a more abstracted work of art, and a contemporary use of colour which is really an exaggeration of the colours of a traditional forest.  

The intensity of colour is used to give the sensation of being alive in a living forest, a reality that can only be created on the canvas by using pure translucent colours that vibrate with the energy of passion and light.  It is the reality of light and life that I want my paintings to represent, yet they are painted very expressively with abstract organic shapes.  The juxtaposition of opposing perspectives also enable my paintings to hover on the verge of both abstraction and representation with barely an alteration in perception.   

Colour and Energy:

Sunset Birches - 41" x 53"

I utilize technical colour theory in my work to maximize the visual energy emitted by the colours as they interact.  For example,  in an area of dark green, I will add small touches of red which will enhance the brain’s perception of the green and result in a lively vibration across the surface of the painting.  However, I feel that just producing colours that vibrate, is not the only consideration when choosing colours.  I believe that the opposing colours must form a separate but harmonious relationship with each other to effectively recreate the pure forces of life energy of a forest,  To achieve this, I have adopted a method of balancing the violence of these interactions resulting in an energetic yet peaceful atmosphere, and an original painting that is not static, but changes throughout the day as the light changes.