THE PROCESS

I HAVE NO FORMULA, NO RHYTHM, NO SPECIFIC APPROACH TO HOW I DO THINGS. I DO HOWEVER POUR OVER REFERENCES PHOTOS FOR HOURS LOOKING FOR THAT ONE PHOTO THAT SPEAKS TO ME, THAT STANDS OUT IN THAT MOMENT FROM ALL OF THE REST. ONCE I FIND THAT PHOTO, WE GET ACQUAINTED, SO TO SPEAK. I WILL STARE AT THAT PHOTO FOR HOURS, GOING OVER EVERY DETAIL, EVERY LINE, EVERY SHAPE. I PICK OUT THINGS ABOUT IT I LOVE, AND THINGS ABOUT IT THAT I MAY NOT WANT OR NEED TO INCLUDE. COLORS, CONTRASTS, AND COMPLIMENTARY ASPECTS ARE STUDIED AND DETERMINED.

I TYPICALLY USE SOFT PASTELS IN DIFFERENT FORMS. PAN PASTELS, A CAKED PASTEL, IS APPLIED WITH SPONGES AND MAKEUP BRUSHES AS AN UNDER-PAINTING AND SOFT BACKGROUNDS. SOFT PASTEL STICKS AND HARDER PASTEL PENCILS ARE ALL USED FOR THE BULK OF MY WORK. BECAUSE THEY ARE ALMOST PURE PIGMENT WITH VERY LITTLE BINDER, THE RESULT IS VIBRANT COLOR SATURATION AND THE ABILITY TO WORK IN VERY FINE DETAILS.

I EITHER FREEHAND SKETCH MY PICTURE ONTO THE SUBSTRATE OR USE A LOOSE GRID TO MAINTAIN PERSPECTIVE FOR LARGER PIECES. MY BRAIN IS HARDWIRED TO FIND “LANDMARKS” QUICKLY, TO UNDERSTAND SPACIAL RELATIONS, AND TO SPOT ANY ANATOMICAL OR STRUCTURAL ERRORS. AFTER MANY YEARS IT IS AN ALMOST AUTOMATIC FUNCTION, HOWEVER THERE ARE TIMES WHEN I KNOW SOMETHING IS WRONG BUT CANNOT SEE IT. A TRICK I USE? I WILL STOP, BEFORE FRUSTRATION CAUSES A NO-RETURN EVENT, AND TAKE THE PICTURE TO THE CLOSEST MIRROR. BECAUSE THE HUMAN BRAIN ADAPTS SO QUICKLY TO AN IMAGE, WHEN THE IMAGE IS REVERSED IMPERFECTIONS AND ERRORS JUMP OUT.

AS MY WORK EVOLVES IN EACH COMPOSITION, I BECOME EMOTIONALLY INVESTED IN IT. IT EXCITES ME TO SEE THE SUBJECT EMERGING FROM THE PAPER, AND I HAVE TO REIGN IN MY EAGERNESS TO SEE THE END. IF I DON’T, I TEND TO RUSH AND ULTIMATELY AM DISSATISFIED.

DURING EACH CREATION, I WEAR HEADPHONES FROM START TO FINISH. I NEED TO BLOT OUT ALL EXTRANEOUS NOISE TO LOSE MYSELF IN A PICTURE. THE IRONY IN THAT IS THAT I PREFER ROCK MUSIC AND HITS OF THE 80’S TO GET MY CREATIVE JUICES FLOWING.