PAINTINGS
Part of my “Pixel Paint” series of artworks. Acrylic and archival Giclée prints from large-format photographs mounted on Canvas.
Part of my “Pixel Paint” series of artworks. Acrylic and archival Giclée prints from large-format photographs mounted on Canvas.
Layman Pang’s 9th Century Koan alive and well at my Father-in-law’s farm in Chattaroy, WA (circa 2003). Part of my “Pixel Paint” series of artworks. Acrylic and archival Giclée prints from large-format photographs mounted on Canvas.
Part of my “Pixel Paint” series of artworks. Acrylic and archival Giclée prints from large-format photographs mounted on Canvas.
Part of my “Pixel Paint” series of artworks. Acrylic and archival Giclée prints from large-format photographs mounted on Canvas.
The Pixel Painting was digitally placed within the actual large-format photograph from which it was created. A lightbox image was also created from this iteration.
Part of my “Pixel Paint” series of artworks. Acrylic and archival Giclée prints from large-format photographs mounted on Canvas.
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Confluence Gallery, Twisp, 2006
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x5’
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’. My dad spent his early childhood at Long Lake Dam (my grandfather worked inside the dam itself).
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Part of my “Autochthonous Paintings” Series. Archival Giclée print of a video framegrab (from my remote wilderness field recordings) on canvas with Acrylic paint. 3’x4’
Seattle, 2004
Oil on Canvas. 5’ x 7’
Oil on Hardboard. 16”x20”
Oil on Canvasboard. 9”x12”
Painted Apple is 5”x7” on Canvasboard.
Oil on Hardboard. 16”x20”
Painted en plein air. Oil on Canvas. 3’x4’
Painting Grand View at Rock Wren Rock
The heat and wind could be fierce over the course of a 12-14 hour day of painting.
Seen from the plateau on top of the White Basalt Cliffs in the painting.
Tiny noisome flies flew into the wet oil paint while I worked. I left them there when I realized that they looked exactly like the Cliff Swallows flying in the sky in the distance! I can still see them in the painting to this day.
Tiny noisome flies flew into the wet oil paint while I worked. I left them there when I realized that they looked exactly like the Cliff Swallows flying in the sky in the distance! I can still see them in the painting to this day.
The winds were not only continuous and fierce, they changed direction all day long!
I often had to tie my work tent to rocks or sagebrush nearby to keep it from literally flying away.
The winds were not only continuous and fierce, they changed direction all day long! They also wreaked havoc on my skin (for which I am paying the consequences to this very day).
These photos give you a sense of the remoteness of this area and immensity of the surroundings in which I worked all day.
My work canopy can (just barely) be seen on the far horizon.
Grand View at Rock Wren Rock. It took 2-1/2 days to paint this artwork en plein air working between 12-14 hours a day.
Deception Pass, en plein air. Oil on Canvas. 2’x3’
Oil on Canvas. 3’ x 4’
Oil on Canvas. 3’ x 4’
Oil, pastels and charcoal on canvas. 3’x4’
Oil on Canvas. 3’ x 4’
Oil on Canvas with charcoal enhancements. 3’x4’
Oil on Canvas. 9”x12” I used a framegrab from my video field recordings for my basic sketch.
Oil on Canvas. 9”x12” I used a framegrab from my video field recordings at Wilson Creek for my basic reference sketch.
Oil on Hardboard. 30”x40”. I used a framegrab from my video field recordings for my basic reference sketch.
Oil on Canvasboard. 5”x7”. Based on a photo of my wife, son and his friend.
Oil on Canvas. 12”x15”
Oil on Canvas. 9”x12”. We grew all these tomatoes. This painting uses multiple layers of glazes to create translucency in the tomatoes; a Renaissance technique that I used many times.
Oil on Hardboard. 11”x14”
Oil on Canvas. 9”x12”
Fantin-Latour’s original painting
Oil on Canvas. 9”x12”. This painting uses multiple layers of glazes to create translucency in the oranges; a Renaissance technique that I used many times.
Oil on Canvas. 12”x14”
Oil on Canvas. 12”x14”. This painting uses multiple layers of glazes to create translucency in the oranges; a Renaissance technique that I used many times.
Oil on Canvasboard. 5”x7”
Oil on Hardboard. 11”x14”
Oil on Hardboard. 11”x14”
Times Square at Night plus Wilson’s Warbler at Wilson Creek installation photograph (UL).
Deception Pass Diorama (LR)
The Madonna of Guercino (left)
Allison Wonderland (right)
Mounting Bit-map paintings and Lightboxes (Totem/Lucida and Tokonoma/Lucida) at Smith Tower.
En plein air, Deception Pass. Watercolor on Paper, 12”x15”
En plein air
Watercolor on paper. 11”x14”. En plein air.
Sumi-e ink and traditional black ink on paper. 18” x 24”
Gouache and mixed-media on heavy-duty artboard, handcut and mounted on black artboard. 18”x24”
Gouache and pencil on black artboard.
30” x 40”
A sliced imagery technique using gouache forms painted on artboard, sliced into strips and remounted. The forms are based on my Modular Design System which can be seen elsewhere on this site.
Acrylic on Hardboard. 9”x12”
Acrylic on Artboard, 9”x12”
Acrylic on Hardboard. 5”x7”
Acrylic on Hardboard. 5”x7”
Acrylic (applied with cake decorator) on artboard. 12”x15”, 1998
Gouache on Hardboard. 11”x14”. This was a project in a graphic design class at Pratt Institute (1970s).
Acryllic on Artboard, 11”x14”
Oil on Hardboard. 8”x10” My brush-cleaning surface after multiple “applications”…
Oil on Canvasboard (cleaning my brushes at the end of multiple separate days of painting).
Oil on Hardboard. 6”x9”
Acryllic on Artboard, 12”x15”