Where it Began

"Autumn Reflections", April 2012

When I was a kid, I used love to look through my grandparent's old photo album. In it, were scary photos of dead ancestors -- dressed very smart, unsmiling, staring into the camera. Something about the thought that "I am related to these people -- this is where I came from" kept drawing me back to that old book of ancient photos.

I thought of that memory just the other day, as I looked back at the first first photos I posted on my (then brand new) Facebook page. Wow. I cringed and laughed out loud. I found myself staring at the very first painting I had shared back in 2012, "Autumn Reflections". This was one of the very early "landscape" pieces I had done using my new technique I called "Dialuminism" ("Light Passing Through"). See, when I started working with painting atop aluminum leaf and finishing with resin, I was doing all abstracts. Separately, I was painting small quasi-impressionistic landscape scenes, but I really wanted to figure out how to paint landscapes using the tools of dialuminism but I had no idea how to coax the materials and ingredients to create what I wanted to create. The painting I'm showing here was my first attempt at a landscape. I had so much fun with it (and these new reflective landscapes were SELLING!), that I quit doing my more typical oil painted landscapes and jumped head long into my technique, using dialuminism for every piece I did. It became my trademark.

I enjoy seeing where I come from. I was all about ancestors long before ancestor.com. I like seeing progression. It's fun. And I thought it would be entertaining to share that progression with other people. I hope you're enjoying the ride as much as I am!

"Until Tomorrow", July 2018

Color Explosion

The thing I really enjoy about a abstract wall art is that it feels as though I have very little control over the thing. It really does feel like it has a mind of it's own. This piece (above) is a studio photo of what is the largest abstract oil painting I've done. I was given several photos of the room in which it will eventually hang, and then my task was to design an abstract painting that complimented that space and would be a real statement piece. So I had an idea of the colors I was going to use, but that's all.

As I began several weeks ago, I felt like I had some good "movement" going on with the texture I applied. When that texture was done and covered with metallic leaf, then I began the actual paint application, and that's when the fun starts. I just almost randomly chose the first color and a large paint brush and dove right in. What I've learned is that I really need to apply one color at a time to my paintings and let those colors dry before I apply the next layer. This takes days and days, but slowly the piece begins developing into something interesting. Then,  it's a matter of looking critically at the piece and determine what is "growing" that you want to develop and accentuate, and what might need to be minimized (visual dead ends). It's kind of like working in a garden -- mulching the plants and pulling the weeds until everything you want growing is mature and beautiful and everything that should not be there is gone.

This painting is headed out to it's new home in Knoxville, TN in a couple weeks (after it gets the resin application).

Fishy Art

Underwater Art

This project, featuring a school of tropical fish swimming amongst giant kelp was the most intricate, detailed painting I've done using this technique. Finished this time with satin varnish rather than gloss resin, it's new home will be in Georgetown, SC. 

A Blast From the Past

Beethoven's Symphony No. 5, Third Movement

Painting Music

While visiting my son Gerin, I found a painting I had worked on about twelve years ago and it still gives me pleasure as I remember the process of its creation. The assignment I gave myself was to create a series of four paintings that visually portrayed the essence of one of the most famous pieces of music ever composed: Beethoven's Fifth Symphony. 

The only way I knew how to do this was to close the door, turn the lights out and listen to this incredible piece of music over and over and over again and (in a sense) let it take me where it wanted.  I noticed minute details I'd never really paid attention to before. The third movement (portrayed here) is a very ethereal, dark, moody section. And underneath the haunting music is a sort of rhythmic framework repeated throughout the piece: 1234...1234...1234...1234...As the third movement draws to a close, it gets quieter and quieter until it is almost silent...and then it explodes into the majestic first few notes of the fourth movement. 

Remembering the fun of the creation of this set honestly makes me want to try it again. Any requests???

"How do you get the aluminum on the painting?"

Aluminum Leaf Application

My big new tropical fish / giant kelp painting is basically half done now with the application of the aluminum leaf (and I haven't even begun to apply the paint). That's the next step but the hard work is now complete. Painting is the fun part. 

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