Direct! I like to mix paint and apply it quickly and directly. I love plein-aire painting (painting outdoors without the aid of photography). I feel a sense of urgency when painting and drawing; I know that the most accurate gestures, the most lifelike colors, and the most convincing lighting are captured quickly. However, I am learning that patience is necessary with certain mediums in order to achieve some desired effects. Every painting amounts to “practice.” I believe that the most important painting I will ever do is the next one, therefore, I improve with each painting.
I attempt to capture the essence of the subject rather than copy it, leaving room for the viewer to see and interpret the work individually. When you view one of my wildlife pieces or landscapes, I want you to go away with a feeling of “being there,” a real sense of the light and the smells and the wind in your ears! I do not believe this is achieved by painting every blade of grass and hair on the hide, rather this is achieved by painting only what is most important to the impression!
I would term my style as interpretive realism, varying in detail. This varied approach can be called Impressionistic, and it often wanders into the realms of Expressionism with colors that push the edges of believability. I am more concerned with accurate impressions than with accurate detail. This is achieved when the colors are right and they work together.
I sometimes prefer to observe the subject and paint the impression later, especially in rapidly changing light conditions or with moving subjects. I prefer to rely on sketches and color studies rather than on photographs when constructing a painting. I find that I can recall colors more correctly from memory than can be obtained with my amateur photography. I like to paint from what I call the “edge of my vision” where I see vivid impressions of color, rather than when looking directly at an object or space where I focus on form and detail. In this way, I can condense numerous colors with similar values into fewer paint colors, some of which may not even appear in the actual scene but “work” when used to substitute for those that our minds automatically and subconsciously blend for us. I like to push my color ranges, which takes some of my work into the realm of Expressionism.