I have always painted from observation.
I started painting in the landscape. I liked being outdoors and racing the light before it changed, rearranging the colors and shapes I’d found.
But I soon succumbed to New York’s winters and stayed indoors, where I set up still life arrangements as substitutes for the landscape. I discovered that I liked finding the shapes and colors in arrangements of vegetables, boxes and cloth from which I could construct “landscapes” and dramas of my own devising, and I loved the slower pace that still life provided.
In all my painting, what compels me is exploring the tension between what I see and what I can invent as an equivalent in two dimensions. I want to paint paintings in which each gesture – color or line – has multiple meanings. The ochre does more than name the “pear”; it has a relationship with a yellow, or red or green; it’s color and drawing. I love the transformation of the seen into the language of color and shape. I want my paintings to tell the non-verbal stories that only painting can tell.