A blend of influences and ancestry have created an integrated approach to my painting. A natural landscape with trees, open fields and sky inspires a different artistic response than does an urban scene with all the complexities of technology, and I find that I paint the two types of landscape differently. A third kind of approach, the illustration process, is visual storytelling: One reads a manuscript and visualizes the characters in action, and the artist’s responses to the scene and the story flows through the brush and into the painted image.
In much the same way as a musician is able to perform in varied emotional styles (expressions), I feel that a painter can also embrace diversity.
I’ve made a living as a scenic artist, an illustrator and a fine artist. In working on an opera, a play or a film, one is required to paint in the style or “spirit” of Titian for one production and then maybe Dr. Seuss for the next project. This leads to a feeling of “play,” or of the continuation of a creative conversation started long ago.
A personal inspiration to create a certain image doesn’t seem to me to be so different from the direction I receive from a designer or art director when I work as part of a creative team. I hope this view supports the growth of a more diverse visual language. It seems to me that it does. I don’t say my approach is right for everyone, only that it’s the path I’m following as an artist.
My fascination with painting came originally from living with the beautiful art created by my Great Granny and Uncle Allan here in San Diego. Many of their works hung in our home in Ocean Beach. In addition to the paintings, vistas of the sea and coastal canyons were my introduction to the beauty of nature.