Two Rivers Pulsing

I have been working on a new series of abstract paintings that continue to explore elemental conceptions of nature. The series title is Two Rivers Pulsing ( at least the working title) which is from 

Emerson's poem Two Rivers. For me the poem speaks to my long interest in the expression of the internal and external worlds.

Two Rivers
by Ralf Waldo Emerson

Thy summer voice, Musketaquit,
Repeats the music of the rain;
But sweeter rivers pulsing flit
Through thee, as thou through the Concord Plain.

Thou in thy narrow banks art pent:
The stream I love unbounded goes
Through flood and sea and firmament;
Through light, through life, it forward flows.

I see the inundation sweet,
I hear the spending of the steam
Through years, through men, through Nature fleet,
Through love and thought, through power and dream.

Musketaquit, a goblin strong,
Of shard and flint makes jewels gay;
They lose their grief who hear his song,
And where he winds is the day of day.

So forth and brighter fares my stream,—
Who drink it shall not thirst again;
No darkness taints its equal gleam,
And ages drop in it like rain.

Here is a glimpse of one of the pieces that I am finishing up from the series.

Here Beside the River

Sketchbook Studies

Jean commented on the method of doing thumbnail studies. I bucked this type of preliminary work, wanting to use a more improvisational approach in my work when I was younger. I worked intuitively and reacted to what was happening in the moment. When I began a series of realistic observational still life paintings 14 years ago I started to see the advantage to doing preparatory studies. When I started following the steps. (I actually created my own method somewhat based on classical techniques.) I was having less failed paintings and I was much faster. I could also expand and work in any size I wanted.

In researching classical methods and found that this preliminary work is extremely important. You can go to visit James Gurney's blog to start learning about adopting the old techniques. He is very generous with his knowledge. There is a huge explosion of information on classical painting techniques so you will have no trouble finding information. Other resources you might like are illustrators who work using classical methods such as Donato Giancola and Dan Dos Santos also there are atielier trained artists like Stan Prokopenko.

I have always been interested in intuition and improvisation. I have developed a synthesized technique for myself. I create dozens if not hundreds of thumbnail compositional studies. These play a different role than they do to classical or imaginative realism. I don't want to create a roadmap or plan for a painting. I want to focus on intuition and improvisation while I am painting even when it comes to composition elements. These studies serve as a method of developing the abstract visual language and mark making language. I find it extremely important in my work. 

Sketchbook Page

Magma Chamber on the easel

Idea Mining

To get ideas I just start doing these little scribbles. I am starting to look for something to develop. I am searching for the thing that will light the fire. The idea is the most important thing. I know what to do when the idea comes.

River Retreat Abstract

A lot of my work is moving toward abstraction. I haven't shown much of it on the web yet. Here is an example.

The epic feel in movies inspired me to do a series of long format watercolor studies.

Here is another longer format watercolor landscape format. I am inspired by the epic feel that filmmakers get when they use a long format.

Landscape Study

I am working on a watercolor landscape study in a longer format.