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This piece was inspired by a winter landscape. It was executed on a gesso covered wood art board. My paintings feature hard-edged geometric shapes that utilize asymmetrical compositions and sharp angles suggestive of architecture. I never sketch out a work ahead of time; instead I work directly on the canvas, sometimes spending months on an individual painting. After superimposing an orderly pattern of lines over a loosely brushed initial composition, I then overlay this pattern with black and white fields that can be interpreted as form and negative space in multiple ways. When I arrive at a place that seems distinct from conscious planning, I feel the work can then exist on its own terms with no further intervention on my part. In the spirit of a palimpsest, I want this process of incremental and purposeful modification over time to be palpable to the viewer: I am both masking the work that came earlier in the creation of the painting and allowing the earlier work to remain visible to illustrate this process of attentive engagement, with each adjustment generating subtle changes that spur further painterly considerations.
This piece is on a cradled wood panel with finished edges. It comes ready to hang.
Oil paint uses natural oils, such as linseed, poppy and walnut oil to bind the pigments. Oils are slow to dry, which allows the artist to rework the painting to achieve the desired effect. Also, they blend easily, which helps to achieve certain colors. With the rise of naturalism in 15th century Early Netherlandish painting, oil paints became preferred to quick drying tempera paint. Artists wanted a medium that would allow them to achieve detailed and precise effects in their paintings. Consider all of the detail in the masterpieces of Jan van Eyck and Hieronymus Bosch!
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