Counterpoint - oil on board 24" x 24"
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
Dancers Laura Neese and Melissa West move through an abandoned lot in Graham Beach where a Hurricane Sandy home once stood.
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
External Forces is a series of oil paintings depicting artists in situ at various Staten Island locations...specifically preserved areas ( Greenbelt, Bluebelt and parklands)
These paintings are acknowledgement of the inspiration provided to these artists by their environment with a nod to the significance, import of conservation and land preservation for all strata of the society
oil on board 18" x 24"
Musician/Composer/Singer Janine Otis at Snug Harbor Cultural Center's Tuscan Garden
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
External Forces is a series of oil paintings depicting artists in situ at various Staten Island locations...specifically preserved areas ( Greenbelt, Bluebelt and parklands)
These paintings are acknowledgement of the inspiration provided to these artists by their environment with a nod to the significance, import of conservation and land preservation for all strata of the society
Summer Harvest - oil on board 24" x 24"
Jay Weichun, filmmaker, environmental activist, guerrilla gardener with his wife Joann and children
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
External Forces is a series of oil paintings depicting artists in situ at various Staten Island locations...specifically preserved areas ( Greenbelt, Bluebelt and parklands)
These paintings are acknowledgement of the inspiration provided to these artists by their environment with a nod to the significance, import of conservation and land preservation for all strata of the society
Ellipses - oil on board 18" x 24"
Poet Dr. Marguerite Maria Rivas at Great Kills Beach
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
External Forces is a series of oil paintings depicting artists in situ at various Staten Island locations...specifically preserved areas ( Greenbelt, Bluebelt and parklands)
These paintings are acknowledgement of the inspiration provided to these artists by their environment with a nod to the significance, import of conservation and land preservation for all strata of the society
oil on board 18" x 24"
Seun Bond - jazz sax player from Nigeria practices in Silver Lake Park
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
External Forces is a series of oil paintings depicting artists in situ at various Staten Island locations...specifically preserved areas ( Greenbelt, Bluebelt and parklands)
These paintings are acknowledgement of the inspiration provided to these artists by their environment with a nod to the significance, import of conservation and land preservation for all strata of the society
Coloratura - oil on board 20" x 24"
Musicians play in the Greenbelt
from the External Forces series funded by a NYSCA grant and exhibited through NYC Parks
External Forces is a series of oil paintings depicting artists in situ at various Staten Island locations...specifically preserved areas ( Greenbelt, Bluebelt and parklands)
These paintings are acknowledgement of the inspiration provided to these artists by their environment with a nod to the significance, import of conservation and land preservation for all strata of the society
Neil DeGrasse Tyson- oil on canvas 40" x 49"
collection of The National Air and Space Museum
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
http://www.haydenplanetarium.org/tyson/profile/portraits
charcoal and conte crayon on rag paper 32" x 42"
..the late Bob Zink, an extraordinarily dedicated licensed wildlife rehabilitator with one of his rescued raccoons, Frankie.
private collection NYC
oil on board 24" x 24"
EdJohnson - Science curator at the Staten Island Museum
collection - Staten Island Museum
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
E. O Wilson - oil on canvas 42" x 42"
collection of University of Alabama via Harvard University
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
oil on canvas 28" x 36"
Irma Bohorquez, Oxford educated entomologist is from Mexico City. She is a Mexican folklorist and photographer, exhibiting throughout the US.
oil on canvas
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
oil on canvas - 26" x 28"
Dick Buegler is a dedicated, effective conservationist, fierce and smart. He and the Protectors of Pine Oak Woods are largely responsible for the saving of 2800 acres of urban wilderness, the StatenIsland Greenbelt.
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
oil on canvas 28" x 48"
Martha Hiatt, director of marine mammals for the New York Aquarium, listens to Marina, a beluga whale
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
oil on canvas 40" x 48"
These three women are experts at identify and nurturing native seeds for restoration projects throughout NYC
oil on canvas
oil on board 22" x 24"
private collection NYC
oil on canvas 36" x 48"
oil on board 22" x 28"
private collection
oil on board 24" x 24"
Wildlife guide and naturalist, Raymond M. leads a group of children through a local woodland area.
collection of Staten Island Museum
BIOPHILES | SCIENTISTS
The sciences are solitary, focused pursuits. The decision to immerse oneself in these fields is an outgrowth of human spirit and acute interest in the workings of our universe.
My images aim to uncap the philosophies and worth of those who quietly study the underpinnings of our world, bringing more of it to us. While creating these portraits I have met astoundingly dedicated, knowledgeable people with endless drive, perseverance and intelligence: botanists who promote native plant restoration, scholars in astrophysics, ornithology, herpetology, entomology, pollution control specialists and educators, one of whom writes a popular children's science column. Some are ferocious activists; many have helped create legislation to prevent further habitat destruction... my sister Elizabeth, an aquatic toxicologist, among them.
Many scientists and environmentalists are compelling writers and able draftsmen, using these skills to document and communicate. As an avid reader of their articles and books, I'm moved by the enthusiasm I find and the great writing itself.
In his "biophilia" hypothesis, internationally esteemed sociobiologist Edward O. Wilson defines biophilia as "the urge to affiliate with other forms of life". He and his colleagues offer that humans have an innate affinity for the natural world, probably a biologically based need integral to our development as individuals.
The first world I knew, Staten Island in the 1960's, harbored such marvels as redwing blackbirds, cardinals, snow, raspberries, blackberries, spider webs, bullfrogs, cicadas, shooting stars, possum, Queen Anne's Lace and milkweed. Walking through the woods, my mother could name every plant, bird, tree and flower. Occasionally, on warm nights we would go out into the back yard and look at the constellations. It didn't bother me that Orion's dots didn't connect to make him look even vaguely like a hunter, or that Sirius bore little resemblance to a dog. I knew better than to expect celestial cartoons; the mystery and math of a midnight sky was enough, but I let my mother trace the lines from star to star, pointing.
The reportage of writing and drawing were natural inclinations. At twelve I began making the hour and forty minute commute into Manhattan from Staten Island's south shore to attend New York City's High School of Art and Design. Immersed in painting, sketching, learning about art and art history, the parameters of my adolescents' molten planet became more viable as my commitment solidified. I brought my French easel on long bicycle trips to paint in the overbearing sun, and to isolated deteriorating boardwalks in February... the sensory additives of weather were my accomplices. Structure and reason emerged by brushstroke.
The cerebral isometrics of painting have been part of my regular routine for much of my life. By addressing the tenacity and generous gifts brought by those in the sciences, I take both dialogues to canvas.
oil on board 25" x 26"
Portrait of A. Hervold, set builder/designer for the NYC Metropolitan Opera
private collection NYC
oil on canvas 40" x 40"
Painting of Saul Bellow at his home in Vermont...now in the permanent collection of the Smithsonian's National Portrait...purchased in 1997
an article I wrote about the experience of painting my favorite author:
http://forward.com/culture/books/308947/painting-saul-bellow/
oil on canvas 34" x 42"
My sister Elizabeth at about age twenty four, standing on the stairway of Snug Harbor Cultural Center on Staten Island where I had a studio for many years.
oil on board 12" x 12"
collection of Rachel Somma Devlin and Kevin Devlin NYC
oil on canvas - 40" x66"
This image was intended as a gently humorous, updated version of the figure in classical art.
The elements of light illuminating the shadowed ( chiaroscuro) form, and the weight of the figure on one leg, to give a more graceful posture (contrapusto) ..plus the modern American images of white briefs and Tropicana orange juice complete the picture.
oil on board 24" x 24"
NYFD firefighter...father, son, husband and brother
private collection NYC
oil on canvas 40" x72"
oil on canvas - 24" x 30"
collection of Mr. and Mrs. Ellison
oil on canvas 36" x 42"
Tegla Loroupe, founder and director of Tegla Loroupe Peace Foundation, Olympic marathon and half marathon champion
collection of The Peace Foundation, Kenya
18" x 24" oil on board
NYC Firefighter who upon retiring became a history professor, outdoor adventurer, mountain climber
oil on board 24" x 24"
Portrait of a history scholar, humanitarian, lover of arts & culture, traveler and Peace Corps (Chile) veteran.
private collection NYC
108" x 144" (tryptich) oil on linen
Natayada and Luecha used this painting as the image for their wedding invitation in 2012 ..a lavish, glorious event held in Chang Mai, Thailand. (yes..of course I went!)
The painting hangs in Nat's home on his family's compound in Bangkok. They have a place in NYC...not far from from the depicted scene
oil on canvas - 40" x 40"
http://www.nytimes.com/2007/12/13/sports/othersports/13corbitt.html
collection of New York Armory Track:
New York City Mararhon Exhibit
oil on canvas 48" x 48"
http://www.runnersworld.com/web-exclusive/running-in-art/slide/12
Every running community has its legends and heroes...the ones who go farthest or fastest, have lasted the longest as competitors, come back from the worst injuries or make the most of what they have as athletes. These icons of spirit become local property, instilling pride as if they were historical landmarks.
A Comrades Ultra marathon veteran and Viet Nam veteran as well, Louis Rodriguez is part of the natural landscape - he can almost always be seen on the horizon at various hours, moving evenly along the shoulder of the road anywhere within a ten mile radius of his 100 mile per week route. Raised in East Harlem by struggling Puerto Rican parents, his focus on success for the next generation meant suppressing a draw to the arts. In a newspaper interview response to the question, “Why do you run?”, he is quoted:
“My daily runs are performances that I choreograph from within as I move through space and time. As the dancer becomes the dance, the runner becomes the run, my stage awaits, where I become one”
In August of 2001, this 55 year old aircraft mechanic began to run for many lives. When his long time running partner was diagnosed with breast cancer, he decided to do something in support of her and all women. Wearing a singlet inscribed This I Do For You he ran from Staten Island, New York to Miami, Florida, raising funds for breast cancer education and research. He ran over thirty-five miles a day for 38 consecutive days, handing out leaflets in every town.
oil on canvas 40" x 54"
collection of the artist
oil on canvas 42" x 48"
A running club listens to stats noted by their coach on a summer evening
oil on canvas 30" x 24"
Three seasoned distance runners relax in the cool April morning after their Sunday long run.
oil on board 24" x 24"
oil on board 18" x 18"
A quiet man - free of so many of the superficial weights that most people have. He's a nurse...and had done a stint in Iraq providing medical care. I only knew this after all this time by asking.
oil on board 16" x 17"
After having done a number of loose landscapes in fairly rapid succession, I welcomed the different skill set required to so carefully examine the subtle, translucent features and burgeoning spirit of a little girl barely over a year and a half old.
The most delightful moment was having her accompany her parents to the studio so they could see the progress. Abby recognized herself, grinning and pointing the second she was brought in front of the easel. A new experience for both of us!
oil on board 20" x 24"
A family friend of Brenda's commissioned this as a generous gift. She may have been a bit less than enthusiastic, but graciously accepted. The friend was unaware that Brenda and I were already friends, running into each other periodically in our favorite park. This enabled a comfortable collaboration between us in choosing the tenor of the image...and we were both very much in agreement about including Brooke, Brenda's high energy Blue Weimaraner.