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Excerpts:
The first time I applied to a gallery, I included portraits, landscapes, and still lifes, framed in a multiplicity of styles. My work was not accepted, but the gallery manager was kind enough to give me some advice: develop a cohesive body of work. From my voracious reading of art books, I knew that one way to do this was to work in a series. But I didn't want to work in a series. In my mind, working in a series equated to backtracking and repetition. Ugh. There were so many, many things to paint, and having come to it late, I was striving to catch up. I didn't have time to waste. Oh, how wrong I was! Working in a series is not about repetition, it's about deep-diving. Settling in and taking some time to explore the corners or your idea. Each successive piece illuminates and defines the original concept in a slightly different way. It's not repetition, it's subtle shifts. Nuance attracts me, like a moth to a flame. Here are a couple of examples of recent series, both of which happen to be groups of three... not a requirement!
The goal for this was to push my color a bit; not to make it more saturated, or vibrant (my work is that way, already), but just be unexpected.
This was about taking the original thought and pushing the composition.
I got a little lost in the reds, here. I love it.
And for a totally different spin on a series:
First "6-panel" ever, it was 36x108" long. Don't know what possessed me.
It let to this 20x60" 6-panel painting. I was interested in doing a very green refections scene.
Keeping within the 6-panel format, up to my usual tricks with slanted horizons, which I think make a fascinating contrast to the vertical lines separating the panels.
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