My Philosophy & Methods
Even as a kid, I was enchanted by the idea of things bigger and more enduring than my little corner of the world. I saw Life’s beautiful contrast playing all around me, and I was compelled to do whatever it took to see its Truth. I wanted to understand the heart of reality – but my creative, right-brained self had to learn to approach things – including my preconceived beliefs – like a scientist.
Artist, Public Speaker, & Teacher
Classical Realism & Proven Techniques
Over-Arching Philosophy
Most art is highly subjective, with emphasis being placed upon the artist’s own viewpoint or experience and how he tells that story. Those things are important, of course, and are a integral part of the creation process, but that’s where my art is different. I focus more on objective reality, the Cause rather than the effect. Meaning that I’m not at the center of my art: a bigger, deeper, more abiding reality and Intelligence occupies that space (God-willing), informing everything that flows out of it. I’m the messenger using my craft to relay a larger message.
Sometimes I succeed in this, sometimes I fail. But either way, it’s the value system that informs everything I create and exists long before any paint ever touches the canvas.
Time Honored Traditions
I follow the painting style and tradition of the Old Masters known as Classical Realism. It has a long and fruitful lineage of Master/Student training.
Guiding Values
My work is built upon the guiding values of truthfulness, integrity, and the ceaseless Beauty that elevates and crowns our life experience.
High Quality Materials
I use only the best quality paints and materials. I stretch my own linen using copper nails on wooden stretcher bars. I'm also discriminating on the frames.
Focus & Perseverance
Quality results don't come quickly or easily. I almost always commit to one project at a time, giving it the attention and effort it deserves.
Sight-Sizing Technique
My Method
Because I’m a Classical Realist, I paint almost exclusively from life instead of photographs or imagination. I use a setup technique known as ‘sight-sizing,’ which means that my painting subject sits right next to and at the same level as my canvas.
I step away to view my subject from a predetermined distance in the room. It’s the same distance every time; I mark the spot on the floor with tape. Then after deliberate, prolonged study, I approach my canvas again, make my marks with oil paint on a paint brush, then step back again to the same viewing location to continue studying the original setup.
My Goal
I greatly value Classical Realism (and the sight-size method in particular) for many reasons, but primarily for its realistic rendering of a subject the way the human eye sees it: not with every detail in stark relief, but as a unified whole that captures a moment in time and tells a story.
Yes, I want my paintings to achieve high technical skill, but I also want them to convey a sense of Soul — the elusive but elemental life quality that unfailingly draws the viewer in because it’s something he can relate to. When we live well, we live soulfully. Hopefully, we create that way, too.
Dispassionate objectivity is itself a passion, for the real and for the truth.