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I learned to paint on the shores of the Caribbean islands and since then have been capturing the earth's beauty on the canvases before me.
Creating art connects me to other artists who seek to replicate beauty and awe like I do. Previously doing art was a solitary thing for me. Since I now allow myself to be influenced by others I see the common challenges we all face. This human connection becomes curative for me as I am joined in spirit with others artists. I thank the dogs for getting me out into nature at all times of the day where I am blown away by local scenes and color.
Although my art usually begins in a frenzy, meditation has taught me to slow down and rein in my impulsivity. The result, though is still never predictable. Paintings evolve and should be given their freedom to wander this way or that.When in a stuck place I consider the painting and what would be the next best move rather than attuning to my own cognitive processes. I might turn it upside down as my teacher Caralyn Larsen has often suggested. It seems though, that what I choose to paint is about something I need to learn at that time.
A portrait commission can be intimidating, esp. when I cmpare myself with the New York city portraitists I learned from. How I manage that is to focus on the passion of doing it. I am grateful for the dogs who persist in taking walks that inevitably expose me to an ever changing vista of exquisite hues in a simple place called the perk ponds. Like Bonnard and Vuillard and Gruppe, as well as Hilda
Neily and the Egeli family who taught me American Impressionism, who deeply influenced my recent work shown here, they too were and are happiest painting outdoors. Where everything moves and
nothing is fixed.