Grasslands and Wetlands
There is no better way to describe American Optimism than a June field full of hay just before harvest. The hope of that grass to bring enough food for the animals; the remarkable quality of each blade of grass being independent and alone but worthless without the whole; the vastness of the space; the way the light catches each blade and illuminates the whole; the way the wind puffs gently and the whole field responds in delight. From the Hayfield to Boston describes this in paint. Marsh Symphony guides the viewer through a vast freshwater wetland back to the upland it protects in the distance. The wind ruffles the grasses individually and as vast forms and shapes. I love the shapes of the saltwater marshes with their slices and cuts that improve water flow (diminishing mosquitoes, increasing human habitat). Just a Hint of Blue and Marsh Cuts/ the Driftway tell this story.
I am a lifelong Plein Air painter. I believe that painting on location gives you the essence of place. The wind, heat, cold, standing too close to poison ivy and speeding cars all affect my work. The names of the plants and how they work in the environment also affect my work. I work small on location for practical reasons and develop my ideas in larger canvasses usually in the winter in the studio. I consider myself a reporter of the natural world. In this series I present to you today, I have focused on the theme of grasslands.