I paint nearly every day, and last year I produced a whopping 440 paintings. I sometimes paint on canvas, but mostly on paper (which I frame and mat under plexiglass). Of those 400+ paintings, I end up with 20-30 paintings that I’d call “show-worthy”. That gives me a lot to choose from when I put together a show. I was originally set to exhibit at the Calvin Gallery in Tigard, Oregon with another artist, but she had knee surgery so I quickly rose to the challenge and created a solo show: 34 paintings which filled two 20 foot walls.
The reception today was splendid--I saw a lot of artist friends and neighbors, and I sold two paintings! I was asked to give a few remarks to the audience, and here are a few highlights:
Most of my paintings don’t get finished in a day or even a week or a month. I often start a painting and then find I have to set it aside for a month or two, or even a year or two before I figure out how to FINISH it.
You’ll notice that my people paintings don't strive to be realistic or anatomically correct---I leave that to more accomplished painters. Although I admire realistic paintings, I will take a painting that tells me a good story over one with perfect technique any day of the week.
People sometimes ask me why I don’t paint facial features on many of my figures. I feel this makes the person look “sad” or “happy” and I don’t want to tell you how to feel when you look at my painting. By painting a blank face, I’m leaving the story of the painting open for discussion and personal interpretation.
In closing, I want to leave you with this: think of a painting as a conversation between the artist and the viewer—my job as an artist is to invite you in to my painting and get you to stay there awhile before you move on to the next piece.
The reception today was splendid--I saw a lot of artist friends and neighbors, and I sold two paintings! I was asked to give a few remarks to the audience, and here are a few highlights:
Most of my paintings don’t get finished in a day or even a week or a month. I often start a painting and then find I have to set it aside for a month or two, or even a year or two before I figure out how to FINISH it.
You’ll notice that my people paintings don't strive to be realistic or anatomically correct---I leave that to more accomplished painters. Although I admire realistic paintings, I will take a painting that tells me a good story over one with perfect technique any day of the week.
People sometimes ask me why I don’t paint facial features on many of my figures. I feel this makes the person look “sad” or “happy” and I don’t want to tell you how to feel when you look at my painting. By painting a blank face, I’m leaving the story of the painting open for discussion and personal interpretation.
In closing, I want to leave you with this: think of a painting as a conversation between the artist and the viewer—my job as an artist is to invite you in to my painting and get you to stay there awhile before you move on to the next piece.
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