The locations I focus on remind me of a place I could be if I were in a movie, with something terrible about to happen. These places are forever stuck in limbo. There is never real evidence of a pressing danger. Instead, the work evokes a foreboding atmosphere, tinged with the threat of unseen forces. The thought of an ever-present danger seems particularly evident at night. The security afforded by the walled confines of a well lit home is cast aside when one steps out into the inky blackness of a moonless night. Imagine stepping out into the pitch black of night from a well lit home and trying to visually comprehend your body in space. Darkness proves itself to be a double edged sword, shielding our eyes from the horror which may lurk beyond, but eventually forcing us to acclimate, so we may fully comprehend the unknown. Darkness can be enveloping, velvety, and heavy. My paintings merely skim the surface of darkness as a physical subject, yet the surface is quite rich with presence.
Most of the Nightscape series are Oil on Panel, linen, or canvas. Oil paint allows pigment to reflect through the layers of paint and medium, and by doing so reflects back with striking luminosity to the viewer. There are three in the series done in Ink on Paper, planned at first as sketches and later as finished works. The ink was diluted and applied in thin washes to gradually build up rich tones in the work. Both methods allow for similar results in vibrancy and luminosity. My most recent works are Acrylic on Board, which has created a matte finish within my work that adds to the depth of the subject matter.