The Horse Paintings
The horses in my paintings don't inhabit
literal-looking environments. I leave out
extraneous elements which I find to be a
deterrent to making a solid painting. I also
leave out references to human influences and
therefore rarely paint horses engaged in sports
or otherwise performing.
The studio is a converted hayloft above the horse
barn. During the day I can see the horses grazing,
playing or just hanging out in the fields. At night,
if the weather has driven them into the barn, I can
hear them in their stalls below. The windows overlook
a pastoral view of a postcard-perfect rural landscape.
Color, composition and the manner in which paint is applied to a surface--these are
my first considerations. The initial attraction is to the physicality of paint itself--the
texture and viscosity of acrylic and oil--and the spring or resistance of the painting
ground. For me, these are the things that make painting compelling.
As far as subject goes, it can be anything at all. For many years figures were my
main interest and I painted them almost exclusively The figure paintings found a wide
audience, but eventually I began painting textural abstracts and for the last several years,
equine themes. The horse paintings have most clearly defined my career.
My aim, other than exploring the relationship between paint and ground, is that of
most artists--to use the acquired skills of technique and medium to communicate a
point-of-view. There's a theme that runs through my work. It has something to do
with commonality and narrative. I don't strive to convey it, but it's been there from
my earliest efforts.