Thursday, August 20, 2015

Three New Murals

I just shipped off three murals that have been occupying quite a bit of my time in the studio this summer. They will end up being installed on outside walls of a high school in the small town of Alva, Oklahoma.

I've painted a lot of murals, but this particular method is a first for me. These were painted on a thin, non-woven polyester material that is principally used in the garment industry as interlining. A growing number of muralists use it because it allows large murals to be painted in the studio, then rolled for transport and installed on site. Very large murals are painted in sections, then attached to the walls with an acrylic gel in a method akin to applying wallpaper. Once installed and properly sealed, they are extremely durable indoors or out, and it is almost impossible to tell they were not painted on location. Preparing the material for painting is somewhat involved, requiring numerous layers of acrylic varnish. The prepared surface is quite smooth and very nice to paint on.

These murals are pretty small as murals go--each one is 5 by 9 feet. The subjects all deal with actual people and events in the school's history. The basketball mural depicts the Alva High School girls basketball team in 1924, the year they won the national championship. The football player is Alva alumnus Jack Ging, who went on to be a standout college player. Later, he went to Hollywood and became a motion picture and television actor. The third mural depicts Edna Donelly, who was national teacher of the year. That entailed a trip to The White House to shake hands with President Eisenhower.

Tuesday, August 11, 2015

The House Below the Mountain, re-sale

"The House Below the Mountain"
oil over monotype on paper, 40" x 26", 1986.

The owners of this 1986 painting of mine, "The House Below the Mountain", are interested in selling it.  I promised them I would publicize it here and on Facebook.

The mid-eighties were a transitional time for my work, and I've always felt like this piece was one of the finest of that period.  If you're interested in purchasing it let me know and I'll put you in touch with the owners directly.

Thursday, July 2, 2015

Last Week of Show

Jump in the car (or boat)! July 7th is the last day to see my show at RiverSea Gallery, in Astoria, Oregon.

Monday, June 8, 2015

New Show!

If you're going to be near the Oregon coast in June or July, please stop in Astoria and see my solo show at
RiverSea Gallery. 

Preview the show online here:

Here's the statement I wrote for the show:

"I’ve always been intrigued by that exact tipping point when paint ceases to be just paint, and this other 'thing' appears. Almost magically, a welter of marks and colors can coalesce into something we recognize: a tree, a face, a seascape.
The works in this show address oceanic or coastal themes, but they are really about where that tipping point of perception resides. All of them began with the same process: random lines and colors rapidly applied to the panels. There was no pre-determined idea of what the paintings would look like, beyond the vague notion of having something to do with the ocean. I gave myself over to intuitive process, allowing each painting to travel where it seemed to want to go. Some chose to stay more or less abstract, others demanded more specific levels of depiction. They raised questions for me. How many, or few, visual “cues” do we need to recognize a subject or concept? What does it mean if we say a painting is “abstract” or “representational”? Where does one leave off and the other begin? Are they really separate things at all?

All these paintings are imagined inventions. All, in one way or another, dance around with the idea of how we comprehend what we see."




"Expanse 2"

Thursday, May 28, 2015


Oil over acrylic on cradled board, 30" x 60"
Available for sale at RiverSea Gallery, after June 13th
Click image to enlarge

I thought some might be interested in the development of this recent painting. It will be available for sale during my upcoming solo show at RiverSea Gallery, in Astoria, Oregon, June 13--July 7.

Many of my paintings begin abstractly, with random gestural marks and rapid, intuitive color choices. Some remain more or less abstract, while others, like this one, turn into more recognizable forms--in this case, a seascape.

Here is the initial abstract lay-in for this painting, done in acrylic:

I actually liked the energy and color in the painting at this state and considered leaving it. But I did have a vague notion of wanting to end up with something ocean related, so decided to forge on. If you compare the finished painting with this, you'll begin to see that there are certain gestural lines and shapes that ended up forming the skeleton for the piece.

Here the structure of stone and water begins to emerge:

I liked the amorphous, misty quality that was coming out, but it seemed too chaotic and unresolved design-wise at this point. The painting is surrounded with coastal photos I've taken, as well as work by other artists that inspire me.

Artists often speak about how a painting leads it's own life, and this seems so true to me. Rather than directing the course of the work, it often feels more like I'm just along for the ride. The stroke put down earlier influences the next one, just as our yesterdays affect our tomorrows.

There were many changes before and after this stage, but hopefully this gives some idea of how a painting comes to be. Thanks for reading!

Monday, May 18, 2015


Oil over acrylic on cradled board, 33" x 30" x 1.75"
Available in June (see below)
Click image to enlarge

Apologies--it's been quite awhile since the last post. I'm posting more often on Facebook these days. You can see my Facebook Artist's Page here. Follow it to stay up on my art posts. My personal page is here--I'd be happy to get a friend request from you.

Very busy in the studio, preparing for a month-long solo exhibit opening June 13th at RiverSea Gallery, in Astoria, Oregon. This painting, "Stormcatcher", will be available for sale then. You could say I've been going "coastal" for this show; the paintings deal with oceanic themes, ranging in style from representational to abstract. I'm pleased that with "Stormcatcher" I maybe managed a synthesis of those styles.

Thursday, April 23, 2015


Oil over acrylic on cradled board, 14.25" x 15.25" x 1.75"
$600 plus $15 shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

This painting began life as an abstraction, with no clue it would later turn into a seascape. It's the center panel in the studio photograph below.

This is a fairly good example of how abstract structure underlies any painting, realist or not. Even though it went through obvious changes, much of the original relationship of forms can still be seen in the finished work. I wanted some of the texture and color of the earlier state to peek through, so I worked to modify, without entirely obscuring, the under-layer. The result is a loose, painterly work that has a somewhat impressionistic feel.

Monday, April 20, 2015

Tidal Memory

Oil over acrylic on cradled board, 26 1/4" x 30" x 1 3/4"
$1900 plus $30 shipping in U.S.
Click image to enlarge.

My desire is to paint a group of ocean-related or coastal themed pieces without painting literal "scenes". Here's the latest attempt.

Friday, April 3, 2015

Clam Flats

Watercolor on archival paper, 14" x 16"
$750 plus $12 shipping in U.S.

For check payment or other arrangements, email

This huge old-growth cedar lies embedded in the tidal flats of the Nestucca River delta, on the Oregon coast. I try to imagine its long lifetime, maybe growing on a steep coastal hillside for hundreds of years, until erosion undercut the roots and toppled it into the surf.

Who knows how many years the tree rolled around in the sea before high tides or a winter storm carried it into this harbor and left it lodged in the sand and muck. Inverted now, the roots reach upward to the sky like beseeching hands.

Thursday, April 2, 2015

The Tunnel Inspector

Oil on cradled board, 23" x 23" x 1.5"
$1850 plus $20 shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

Winslow peering into a culvert, curious but hesitant. I'm fond of this piece--think it caught something of his energetic personality and joy of being in the great outdoors. Hopefully it expresses something of dog-nature in general. It's one of a group of paintings, all of Winslow, that I exhibited in a show titled "Sit/Stay", at Mary Lou Zeek Gallery in 2013.

Monday, March 30, 2015

The Collection of Hours

Enamel on cradled board, 19" x 24" x 1.5"
$950 plus $20 shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

Here's a painting in my alternate, less realist, "style". Works like this are begun without any notion of what the result will be. Ideas and imagery come out of the process of moving paint around on the surface. This way of working can frustrate--it often feels like painting blindfolded. But it can be exciting, too--a process of discovery. Painting only what one can think of usually ends up being predictable and boring.

I can't accurately re-trace the steps that led to this dry-docked boat sitting in a rather surreal looking landscape. But I like how the piece seems to raise more questions than answers. It leaves room for many interpretations.

Friday, March 27, 2015

All to Himself

Oil on board, 12" x 12.25"
$550 plus $15 shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

This painting from 2012 was the view from our former home in Union, Oregon. It was endlessly fascinating to watch the light play across the forested mountains surrounding the valley. The horse seemed pretty oblivious, though.

Sunday, March 22, 2015

Two Tone Stone

Oil on board, 6" x 6"
$125 plus $6 shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

Monumental sandstone bluffs near Sedona, Arizona. Brenda and I used to hike a lot in the area when we were living in nearby Flagstaff. Hoping to make a trip back to the southwest this summer. We are both longing to see that amazing landscape again. This painting was done in 2007, the first year of my daily painting project.

Wednesday, March 18, 2015

Sea Change

Enamel on gesso-coated paper, 61" x 72"
$6300. Free shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

I've gone round and round with this painting. I'm calling it done, for now at least. Any painting in the studio is always at risk of being modified in the elusive pursuit of "completion".

Perfectionism can be crippling if not kept in check. I'm trying to internalize that lesson, do the best I can with whatever abilities and understanding I have at the moment, and move on to the next painting.

This is a large work, enamel on a very heavy paper that has been primed with gesso. It hangs from four small grommets at the top. No glass is required.

Thursday, March 12, 2015

Heron's Dream

Enamel on gesso-coated paper, 61.5" x 72"
$6300. Free shipping in U.S.
Click image to enlarge

For check payment or other arrangements, email

Here's another large painting that is kind of a hybrid of my representational and abstract styles. We often see blue herons on our walks along Salmon Creek. Instead of painting one with naturalistic colors, I had a vision of a true BLUE heron. Somehow I think it works, juxtaposed against the abstract energy of marks and textures in this painting.

Monday, March 9, 2015

What Are You Lookin' At? (Revised)

Watercolor on Strathmore Plate Bristol, 8.75" x 11.75"
Custom matted: $350 plus $15 shipping in U.S.
Custom matted and framed: $450 plus $25 shipping in U.S.

This old bull eyed me from across the fence, then turned and slowly walked away like he'd had his fill of me. But he stopped and gave me one last sidelong glower, as if to say "what are you lookin' at?"

I painted this in 2011, but recently did some more work on it. I decided I didn't like the yellow-orange sky, so re-painted it, allowing some of the original warm color to show through the bluish washes..

This piece is offered either with a custom double mat, or matted and framed under glass--buyer's choice Framed size: 15" x 17.25" x 1.5". See framed image below.