Looking For A Silver Lining Series Statement


 I began my art training by painting both people and abstractions.

I left pure abstraction in the late 70's. 

 In 2008 I returned to abstraction to take a break from the conscious control required

in rendering the faces and poses  that I had sought to portray in recent years.


In this series I re-visit my fascination with the colors white and gray. I treat white, not as the absence of color as the Renaissance painters described it, but as a complex pigment that stands on its own. 

Gray is for me the great container of all colors.

Depending on the color proportions in the mixture it influences all other color in a painting.

A warm gray, for instance, next to a warm red will render the red duller or cooler

because its warmth is absorbing the warmth of the red.


I set up for solution artistic problems that combine images and painting techniques from the past

with the present, that define space through unexpected uses of color and line,

that generate for the viewer a sense of ambiguity and timelessness.


As to technique in this series I experimented with acrylics, sand,stone,glass bits, fiber paste and oils as if I were cooking. Because I prefer the fluidity  and richness of oils I used acrylics as under-painting and then oils on the top. Their luminosity make it look like you are seeing into the acrylic layer beneath.


Basically my painting remains an emotional response to color, light, music and human experience.  In this series

I let my unconscious and listening to music be the engines of this work. I strove to bring to the viewer what I experience that is both formidable and beautiful in life; to express in paint the emergence

of the memorable or emotionally positive feeling that can com out of the most difficult situations. 


The subtlety of human nature, psychological ambiguity, and a sense of timelessness continue to fuel this body of work.