Process is very important to me: in recent years I have been concerned with achieving a balance between subtlety of composition and intensity of mood.
My interest in lighting comes from the cinema as well as life. Light can be a subject of a painting and influences whether the painting explores bold contrasts of value and saturation or more subtle, nuanced depiction of the subject. I am growing increasingly aware of the characteristic quality of light in a specific location – my paintings from London depict a dimmer, grayer light, paintings from Boston are more harshly lit.
I am intrigued by experiments with scale ranging from life-sized oil portraits to tiny bird studies.
On the practical side, when painting with oil paint, I like to work on Belgian linen canvas and apply the paint with both hog’s hair brush and palette knife.