In November of last year I was invited to be on the cover of Connecticut Cottages & Gardens Magazine for The Art Issue. They were doing a special issue on Artists in Connecticut and one fall morning I got a call from the Editor in Chief. They asked me if they could come to do a photo shoot at my studio in Roxbury. I replied: Delighted!
When the ‘crew’ arrived they began to snap photo after photo seconds after getting out of their vehicles.
As an Artist who is often in motion – I move around the Painting quite a bit while working (as the canvas typically begins on the floor of the studio, laying flat so I can freely swing the brush, liberated from ideas about up and down, left and right) – it was appropriate that the photographer took pictures while i was walking the property and moving around the studio.
The final shots selected showed me lifting a large red painting from the floor and a second shot, which became the cover shot, was intriguing as well.
The cover shot showed me using a special long handled brush, pushing paint across the surface of large dirty white painting. Some thought it was a broom I was using to sweep up, but in fact it was a long handled brush designed to have greater reach across the surface of a larger painting. Plus, its length allows for the kind of playful and unexpected ‘accidents’ that occur when liquid paint (mixed to the consistency of melted Ice Cream) swishes and sloshes on the new weave of fresh cotton duck canvas.
When the cover appeared, I was delighted.
It was a good clean shot, and accurate as well.
Painter and Painting fully engaged. A moment in time crystallized and captured for all time on the cover of Connecticut Cottages & Gardens Magazine.
An abstract painter takes the road less traveled in Roxbury.
Describe you art. My paintings travel on their own roads in many ways. I am there to assist and guide. I work without premeditation and follow what is in front of me. The trick is to know when to stop. Who or what influences your work? Nearly everything. It all goes into one big soup. Where are you finding ideas for your work these days? I watch everything in a sense – from a repaved road with new asphalt meeting old concrete to a jerry-rigged door in an elevator stairwell, or the radiant smile of a passing stranger in an Italian café. I like to look at the edges of things, to the non-event rather than the event. What part of your artistic process do you enjoy the most? Painting. I like when the canvas is on the floor and I’m moving around it rapidly, big brush in hand letting paint flow and drip and colors collide. I create chaos and then pull back and have a look. I like to get lost in the painting. Do you listen to music while you work? I like listening to some really good music (everything from Bach to Bob Dylan, Ella Fitzgerald, Philip Glass and Sara Vaughn), taking a moment to sit and look at what I have been painting, to slow things down and breathe. What time of day are you most inspired? In the late afternoon after all the morning busyness is out of the way. What is the most indispensable item in your studio? My long-handled brushes, my music – and of course lots of paint, mixed to cream consistency like melted ice cream on a hot summer day. What is the last show you saw? Rothko in London.