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Middle Earth 54x42

After my first Nebraska winter, I wanted to paint something quick and abstract for my porch, which looks onto a red brick wall and suburban back yard. Given the way I paint, it just kept on developing. I needed green and blue. I needed water. I needed a big fantastical vista. This was painted in acrylic on a thin packing crate plywood sheet.

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Sun Bleached 16x12

This is what happened while imagining hot, humid dawn on Nebraska grasslands suffering drought, but missing the ocean.

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Golden 14x18

My paintings are what I call abstract realism. Realism because the observable subject is the source; abstraction conveys what is not physical. Changing light, wind, tricks of the eye cause perceptual changes. Humidity, the season, all is change. A little abstraction helps. This tree lives in the middle of a field surrounded by pines. It's leaves turned yellow in the fall and glowed in late afternoon sunlight.

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Morning Coffee 36x30

My studio is where I work, first studying a few reference photos, maybe not. Much changes after the first realistic layers. The paintings I like best are when something happens I call “have at it”. Scraping, layering, wiping out, drawing and dripping are all part of seeking the hidden quality of what was evocative in the first place. This view looked west from where I was privileged to live for awhile. The color is exaggerated but expressively close to what I saw one early spring morning.

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Beach Break  36x30

Hiking, cycling, kayaking and surfing (when I lived by the ocean and was younger) are how I absorb the environment into visceral memory, which is not the same as mental imagery. Active pursuits require letting go of everything but firm attention to the physical demands of the trail or open water. Take it in and put it back out. How to show others what I see? Or don't see?