Perception and Consequence Series

After the humbling realization that I was not a philosopher and I didnít have anything new or enlightening to say about the world around me, I decided to paint emotions rather than complex stories or issues. My struggle then became concerned more with how to capture specific emotions or feelings through a still image. Not just happy, sad, or angry, but emotions that were layered with other feelings making them more of a composite of several emotions, and a better reflection of how the human animal actually thinks and feels.

The backgrounds have been based on the landscape surrounding me in my hometown of Roseville. I have used my artistic license and made the cliffs taller, the trees more dense, and colors more like the Baroque paintings of Caravaggio and Rembrandt. These changes help me de-emphasize the complexity of the landscape, leaving the work with an focus on the feeling rather than an academic or informative appearance.

I have found this goal to be far more difficult for me than I originally anticipated. The problem has been keeping the paintings working on an emotional level rather than drifting back into the cerebral story telling mode. I am satisfied with my ability to paint the imagesóitís the ability to accurately portray complex emotions with a single scene that I continue to struggle with. Iím excited about the challenging nature of these emotion-based paintings, and look forward to where they will take me.


Pandora's Box
Oil on Canvas, 2003

The Burden
Oil on Canvas, 2003

The Laugh
Oil on Canvas, 2003

Perception and Consequence
Oil on Linen, 2003

Call of the Sirens
Oil on Canvas, 2003

Discovery in the Garden
Oil on Canvas, 2003

Flower Study
Oil on Wood, 2003

Oil on Canvas, 2003

Oil on Linen, 2003

Fire and Its Path
Oil on Linen, 2002

Oil on Linen, 2003

Oil on Linen, 2003