Tuesday, January 31, 2006
Sunday, January 22, 2006
Tuesday, January 03, 2006
Winter 2006
Last year I exhibited in November at the Bonnafont Gallery on Greenwich Street in San Francisco. I also participated in two exhibitions in the Adirondacks during the summer.
In early summer of 2006 furniture maker Michael Swanson and I will exhibit in a joint show at the Art Mission in Binghamton NY. Large paintings are on exhibition at the New Federal Courthouse in Scranton and in ArtWorks at the Philadelphia Museum of Art in Pennsylvania.
Ten years after abandoning formal landscape painting to explore the more direct act of freely applying paint to a surface without a representational motive, I have developed a new vocabulary; light and dark, warm and cool, making marks, brush-strokes like heart-rhythms.
Every day is a test of each painting's ability to stand on its own. Each painting is subject to being changed, to being reworked or scraped and repainted as long as it remains in the studio.
Where I used to attempt to 'make a picture,' now my concerns are the energy of light, the mass of space, the emotions of shadows. I want the painting to meet the viewer somewhere in the middle, where the viewer brings his own experiences to bear in understanding and feeling what he is seeing. I want my paintings to achieve the complexity and density of poetry or of a symphony, to build suggestive layers, implicit felt meaning, not merely to be bit of colors to seduce the eye. I want my paintings to be accessible to children as well as adults, and to be so simply and directly painted that it shows the act of painting for the joy and excitement of it.
Proof is in the viewing.
My address here is: hermosastudio@gmail.com
In early summer of 2006 furniture maker Michael Swanson and I will exhibit in a joint show at the Art Mission in Binghamton NY. Large paintings are on exhibition at the New Federal Courthouse in Scranton and in ArtWorks at the Philadelphia Museum of Art in Pennsylvania.
Ten years after abandoning formal landscape painting to explore the more direct act of freely applying paint to a surface without a representational motive, I have developed a new vocabulary; light and dark, warm and cool, making marks, brush-strokes like heart-rhythms.
Every day is a test of each painting's ability to stand on its own. Each painting is subject to being changed, to being reworked or scraped and repainted as long as it remains in the studio.
Where I used to attempt to 'make a picture,' now my concerns are the energy of light, the mass of space, the emotions of shadows. I want the painting to meet the viewer somewhere in the middle, where the viewer brings his own experiences to bear in understanding and feeling what he is seeing. I want my paintings to achieve the complexity and density of poetry or of a symphony, to build suggestive layers, implicit felt meaning, not merely to be bit of colors to seduce the eye. I want my paintings to be accessible to children as well as adults, and to be so simply and directly painted that it shows the act of painting for the joy and excitement of it.
Proof is in the viewing.
My address here is: hermosastudio@gmail.com








