3- Paths, Atitlan, oil on mixed media on panel 11 X 34″
This is one of a couple of works, on a HomeDepot wood laminate I later mounted, that I composed in Photoshop, then painted in acrylics, then corrected in paint markers, then overpainted it in oils- these steps made necessary to finally get the colors and atmosphere aligned. So the surface may be overworked, but the intention of expressing something about arbitrary choice remains. Image sources: central image is a realigned 2004 digital shot of lake Atitlan, near Panajachel, left is loosely based on a scan of a 110 negative I shot in western Japan in 1978, right is heading to the beach in Loveladies, New Jersey.
3- Paths, woods, oil on mixed media on panel 11 X 34″
This is the second of a couple of works, on a wood laminate I later mounted, that I composed in Photoshop, then painted in acrylics, then corrected in paint markers, then over-painted it in oils- these steps made necessary to finally get the colors and atmosphere aligned. So the surface may be overworked, but the intention of expressing something about arbitrary choice remains. This one I managed to align by using trees and backlighting across all three parts.
Papallacta, oil on canvas, 36 X 48″
At Termas de Papallacta, Ecuador. Over the years I have collected a few hundred images of passages. This is a common theme in landscapes because of the suggestion of graduating from one thing into another. For instance, every funeral home has a picture of a garden gate. At Termas, there are little cabins you stay in connected by regular roads and also, on the back sides by trails through the bamboo, which is an invasive weed. I like the way bamboo hogs all the light so that when you are inside of it you are in a nearly blacked-out space. Within seconds, your eyes adjust. It reminds me of building snow caves as a kid. Termas is only a few kilometers from the equator but is also at a high altitude, and so you have an extremely diverse plant life in spite of agressive species.
Igi-Mi-Tama (Kurasawa) 18X34” oil on panel
Shinto beliefs infuse some of Kurasawa’s early works, especially one where itinerant samurai slaughter a family whose ghosts wander a remote mountain precinct causing night travelers to dissapear. In that film, he sometimes shows an entrance to a abandoned temple, which has been removed from its wooded habitat here. In that system, ghosts cannot be defeated, they must be purified and allowed to move on. During the occupation, under severe restrictions by the film board, this is as close as Kurasawa came to criticizing the authorities. I continue to tap into the vein of Kurasawa’s early films because they speak to me in ways that are not clear but become somewhat reachable after I paint them. Possibly, decades free them from the restricted stories of their time and allow them to become more universal for people outside that time and culture.
Zulu Gate, oil on canvas, 50 ” X 48″ oil on canvas
Erin’s Cowpond, oil on canvas, 18 X 24″
a just for fun landscape, is an image attractive to me, maybe because the rotting bridge makes me think I am someplace that no longer exists in this way and is probably now dredged and developed. Impassable, inaccessible, Palin’s bridge to nowhere…