My paintings are informed by the lessons of art history- of Medieval altar pieces and Renaissance holy works. They are driven by the cracked swirling nights of Albert Pinkham Ryder.

My aim is to trap the mysterious sacred essence of this art, set it free in mine, and let it seep quietly into the hearts of my viewers. My paintings are memories of night, and water and sacred places. In homage to the pristine, delicate nature of our planet they are a personal reminder that life on this earth is a privilege, this land is sacred, and we need to protect it. Two “Great” things guide the work in this show. One is an island, the other a wave. The view of Great Island is one I know by heart. I can see it with my eyes closed. I’ve been painting it since I was a kid. And just as I have studied the view of Great Island countless times, so did Hokusai draw his dangerous wave over and over, until, at age 71 he created the iconic block print that would personify his image of an angry sea. So it is, that Great Island and Hokusai’s Great Wave have inspired my paintings for this show.

I build my paintings, layer upon layer, starting with brightly colored pattern sprayed through screens, then varnished and glazed with layers of paint. I top this with imitation gold leaf, an alloy of copper and zinc, to create the composition. To create the illusion of a sandy island, I use iron dust swept from a metal artist’s studio floor. I treat the iron dust and metal leaf with a mild acidic solution of natural ingredients found in my kitchen, to develop a blue green patina, oxidize rust or to dissolve the metals entirely, exposing glimpses of underlying shape and color. I use varnish and glaze to enhance the painting. Only at the end do I pick up a brush to complete the painting.