An explosion has it’s own energy force which creates a unique footprint on the canvas. Excitement is created from this process, but it takes some of the control away from the artist. There is a boldness of black versus white and a looseness in the smoke trail or flame that can burn a track of color. It’s exciting to get results and create something unique from a medium that resists control. The subject being presented is my idea and I create the composition. But, when you introduce the gunpowder and fuses, you are then delegated to the position of director, not creator. Once the explosion or burn is complete, the artist is once again the master of his piece and can expand on or embellish the magic that has been created by the gunpowder or fuse.
I like a simple, clean composition that has just enough description to let the viewer interpret the painting. I also want to present the least amount of information needed for the observer to feel the painting, feel the trees….even if one is blue! I am a colorist, leaning toward representationalism and yet, falling into abstraction. I am the most happy when I’m outside in nature and looking for inspiration. I am a member of the Southern California Plein Air Painters of America. Art is an emotion with constant flow. It is a struggle to transfer the artist’s feelings to a painting that will hopefully cause the viewer to have their own personal and emotional response.
I was drawn to kiln formed and slumped style architectural glass, because it allows me to stimulate the viewer by simple suggestion. Glass when heated to 1200 to 1600 degrees is much like thick lava. At those temperatures it becomes fluid enough to slump down over a design I have created. It forces me to stay clean and simple. The graphic design and spatial shapes create the interest rather than small detail.