Q: Tell me about your creative process—how do you approach your artistic work?
A: I can’t say painting is an emotional experience for me other than the pleasure of making art. Something from nothing to something is a big deal!
I tend to paint in series, rather fast, you might call it binge painting. It could end with a few works or a few dozen over several months. I think it came about early in the game during the learning period. I broke down every element of each subject until I could paint it intuitively…. Spent 2-years painting daily producing hundreds of small works and then larger works to get there. As a result, my attention stays on one painting at a time until finished. I don’t split my focus. When you get sloppy, take a break, or sign it and move on.
Q: What is your favorite subject matter to focus on and why?
A: I’m not sure I have a favorite subject. However, a good subject or series must develop a storyline with the ability to expand over time to stay relevant. Subjects in rotation lead or culminate to one or more major works and then pausing a bit keeps the game fresh, necessary to a career artist.
Art is global as is the art market, so I paint iconic subjects like Venice, London, Koi, and atmosphere in different settings more often than regional subjects. My real interest is color, movement, luminous light effects, reflections, and atmospheric transparency. The binder is capturing the essence of an emotion successfully regardless of subject or setting.
Q: Tell me about your reproductions – how do you feel they add value for a collector?
A: I’m in the last few years of a 15-year career plan as a professional artist. Most if not all goals were achieved a bit earlier than expected which left a gap. The reproduction market was not one of those goals. It came about from a solo exhibit several years ago. Many attendees wanted prints...none to be had.
Perhaps the most import long-term asset an artist has is our creative copyrights attached to our work. As you know, it does not transfer with the original’s sale. We artists have a limited lifetime production. If lucky many will end up on forever walls. The downside, only a few will have access to our life’s work. Once the painting is sold and the money is gone without the copyright, no further income is derived from our art. Many of our fans will never have a painting to hang on their walls if not for reproductions. Aside from the fact reproductions, both digital and hand copies, of original works have a long history in the art industry. This is an excellent way to share your work with a broader audience and gain dividends from our creative process for years into the future.
If successful it would enhance the value of any artists original work by branding the artists name to a global audience. Making the originals more valuable.
Reproductions today are superb quality, easily done with a good digital capture. Reproductions as wall art is an important mainstay for the design trade. The trade is always looking for high quality products for their clients, who better to supply than good artists as opposed to factory work often seen.
Q: If you had a motto, for your art and life, what would it be and why?
A: I believe a painting should draw you in at a distance and be touchable up close and personal. And yes, I have no issue with an admirer touching my work! Without exception every painting should be presented properly to the viewing public. And above all, the need to respect your collector, love and protect the value of your work.
I pass this on under the banner of Swimming-in-Paint at Crossroads Art Center, weekends mentoring and coaching a group of like-minded senior artists who are pursuing art as a new career move.