Artist's
Statement
I
started painting landscapes in oil my senior year in high school.
While I had always enjoyed artistic endeavors, that was a turning
point for me. I felt privileged to use my Dad's materials,
and exhilarated to work outdoors. Years later, I still feel
exhilarated when I paint, in the studio or in the field.
My palette and working methods are derived primarily from
the Boston School tradition as passed down through the students
of Ives Gammell, although I have also been influenced by Classical
Realism. Some of my favorite artists include Sargent, Ingres,
Pissarro and Degas. Like all my mentors, I work from life on
both landscape and still life. In each composition I pay special
attention to design, because it enhances the subject matter
and transforms a documentary image into an expressive one.
Some of the character traits that help an artist thrive -
curiosity, a bit of rebelliousness, fierce independence - made
it difficult for me as a young person to acknowledge my artistic
aspirations. I wanted to be my own person and was vocally protective
of my individuality. When I was ten, I remember one of my Dad's
students asking me if I would grow up to be an artist like
my father. In response, I stood tall, put my hands on my hips,
and replied defiantly: "No! I'm going to be a firefighter!" Actually,
I had no idea what I wanted to be as an adult. All the while,
I was fascinated by watching my Dad paint, and continuously
took art classes in school. When it came time to attend university,
I chose a degree in French.
French literature thrilled me because I felt a personal connection
with the authors that transcended time and language. In literature,
as in painting, I found a sensitivity to the world that resonated
with my deepest feelings; I knew I, too, had something to discover
and express, but I didn't know how. Overwhelmed by these thoughts,
it felt reassuring to be involved in the academic world where
there were well-established expectations.
It wasn't until after I was successfully working in publishing
that I realized I needed to dedicate myself to art full time.
Painting on the weekends just wasn't sufficient to satiate
my hunger for creative expression, and even professional advancement
was not enough to fill the void. Reading Art & Fear: Observations
on the Perils (and Rewards) of Artmaking, by David Bayles and
Ted Orland, was influential in my career decision.
Becoming an artist has been a struggle, a privilege, and a
joy. Painting gives me a chance to expand my vision of the
world and provides a way to connect with the viewers of my
work. No single painting is the final statement; over time,
I have learned to look at my work as part of a journey, and
as a series of investigations. Though I traveled and experienced
life outside of the art world, it wasn't until I came back
to painting that I felt I had begun my life's true work. In
the words of Marcel Proust, “the real voyage of discovery consists
not in seeking new landscapes but in having new eyes.” |
