THE LIGHTHOUSE
KEEPER'S HOUSE
Oil on canvas, 2001
Every painting begins with an initial "vision" that captures my interest.
It might be a color, an abstraction wherin the literal subject becomes
less identifiable, an atmospheric condition, or a combination of these.
In this scene, I envisioned the house, with it's
pure frontality, emerging as a monumental form from the fog.
A large studio painting is usually arrived at through thoughtful examination and exploration, with each step supporting the initial vision. The preliminary stages are just as important as the "finishing touches."