Process

Although my work appears to be highly realistic and perhaps, in a sense, photographic, I do not consider myself to be a PhotoRealist artist. Working from real life and photos, my aim is always to bring out the true essence and soul of the subjects I paint. My goal is to make them come alive — to make them breathe. I am known for presenting my subjects as powerful and strong images in straight-forward frontal or straight-on side views.

I work in a very loose, unorthodox manner – the paintings are composed of abstract elements – non-objective in certain areas, surreal in others – all combined with a unique layering process to produce what appears to be a real image, yet is totally abstract in its process, techniques and execution. Working on hi-tech fabricated aluminum panels, utilizing a state-of-the-art waterborne paint, DuPont Cromax AT, I have developed a unique technique and multi-layering process that combines industrial paint technology with traditional brush work.

The process involves the application of dozens of layers of transparent paint – pure color over pure color – no colors are premixed (example, blues over yellows to produce green). No more than 8-10 pure colors are utilized to produce an entire painting. I apply wet over dry, wet into wet, however, each individual layer allows the previous layer to show through. Up to 25 layers or more are applied. The painting is given a clear coat which I then wet sand. One final clear coat is applied, and the layering process becomes quite evident. The colors refract, showing and blending through one another, giving the paintings a look and feel, a brilliance, a depth and saturation of color, and a luminosity and surface finish unlike anything seen so far in fine art.

This process, along with the experimental paint, gives the artwork a 3-dimensional effect which cannot be achieved or duplicated with traditional paint mediums. Referring to an ArtNews article by Barbara A. MacAdam, “The paintings appear to be impossibly real.”