My paintings are not as much traditional “landscapes” as they are “land-escapes.” While I occasionally portray a panorama, usually I seek out smaller, intimate, natural sites. I want to explore the serenity of natural, enveloping places. I try to make pieces that are calm, evocative, and inviting, somewhere a person could sit and think, or just sit. I often do “tree portraits” because the anecdotal character of individual trees can be fascinating. My pictures include no people, human artifacts, or anything with eyes. For me these conflict with my purpose in painting.
My art works invite viewing from both near and far. Up close they offer colourful, textured surfaces with interplays of shadows, while at a distance there is cohesion to the imagery which creates depth and breaks the picture plane. They are 3-dimensional, tactile invitations for eye, hand, and emotions.
I often include collaged oriental papers as the ground on which to paint, and I add sculptural acrylic gels and pastes for textures. Some of my pieces have a fine, spider-web-like fabric embedded in the acrylic ground covering a panel, to create an overall random play of shadows.
From 1971 until 2012 my public medium was fibre art. The most recent 20 years of that time I primarily made woven landscape pictures. These merged weaving, painting, and embroidery for their imagery. As with most pictorial work, drawings and rough paintings were part of the preparatory steps.
In 2012 I transitioned from fibre art, which had incorporated textile paints, to painting with acrylic paints and mixed media. This met a growing need to be able to express particular effects in a picture, effects that would have been inconsistent with and forced upon a textile basis.
My woven landscapes often have been described as painterly. Now my paintings are said to include a textile sensibility. That is a satisfying style for me and a good base for portraying my view of the world.