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18.10.14 - Of all the arts

“Of all the arts,”

said Wassily Kandinsky, “abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for color, and that you be a true poet. This last is essential.” In other words, the painting must have the fundamental components of good design.

David Hockneyximages

“All painting, no matter what you are painting, is abstract in that it’s got to be organized,” said David Hockney. Balance, vibration, weighting, form and eye control, mastery of colour, areas of visual excitement and areas of paucity, grey to rest the eye and gradations: These design elements, when intuitively understood, can create a stand-alone magic.

These quotes are amazing because expressing the essence of abstract painting is hard because it is so abstract! Yet these men did a fine job of providing an explanation.

13.10.14 - Illegal visit to Hans Hofmann’s drawing school

x1Illegal visit to Hans Hofman’s drawing school

Hans Hofmann is considered by many critics to have been the greatest and most influential teacher of art in America in this century. Hans taught his Push and Pull theory in Providence, Mass at the Hawthorne school. Hofmann’s influence as an abstract teacher touched all artist who were part of the New York Expressionism movement.

The barn

In 1979 the barn was listed on the National Register of Historic Places and is on Miller Hill Road, has an impressive view of town.The location of this relic  you didn’t hear from me, but is worth the visit. The property is now privately owned.

29.09.14 - Brilliance of Foliage

Foliage and paintings

How does a painter make sense of the cadmium season? The unusual vision perception of an artist makes it overwhelming. They see millions of green in one leaf where an untrained eye might see one green color. The brilliance of foliage painting is the ability to design the foliage palette, and get those foliage colors to behave!






brookhill Inn abstract 5x7

06.09.14 - Ripe

In The Name Of Something WonderfulThe finest Abstract paintings come from when a painter is natural. These natural tendencies enhance unexpected brush strokes which produce rare abstract paintings. It is my belief that many abstract painters will produce a major painting within a ratio of ten average paintings to one masterpiece. These masterpiece paintings are so rare due to the naturalness and explosive brush stroke that is uncontrolled. De Kooning’s work has this quality of unexpected energy and brush stroke that is so rare in many of his pieces. It could be stated that major abstract work happens when the painter is ripe enough to allow the abstract magic to come through the brush.

In the opposite spectrum, realism is wonderful in a different way to which a realistic painting shows the craftsmanship and dedication to detail to develop an advanced realistic painting.

26.08.14 - Kandinsky and Klementovich

xxHe is all pine I am apple orchard-frostKandinsky’s paintings did not feature any human figures; an exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. The horse is muted while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also apparent in these early works. Colours are used to express Kandinsky’s experience of subject matter, not to describe objective nature.

Saatchi picked one of my paintings for an online group showing of Kandinsky’s work. This collection was picked by Rebecca Wilson who is the Chief Curator and Director at the Saatchi Gallery, London, where she was the main person for the gallery’s online presence.

I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here: My painting that was selected is entitled, He is all Pine I am apple orchard.

14.07.14 - Janis Pryor and her color truths

I am lucky enough to be having a private show with my good friend and color maverick,  Janis Pryor. It is true we both live in God’s country, among the small remote towns that speckle the foothills of the mountains. We both strangely have this love of the obscure French painter, De Stael.As strange circumstances always make the best partners in the art. Janis and I have Jim Blue joined forces to show our Abstracts together this July  26th from 4-6 at M and D playhouse,in North Conway, NH.
th from Color is the subject of my work, primarily (but not exclusively) articulated by mediums not traditionally associated with abstract work, soft pastels and oil pastels.
The truth is artists are problem solvers to one degree or another. Questions drive my work. What constitutes the boundaries of beauty? At what point can you introduce an element of dissonance that:
  • doesn’t compromise the integrity of the medium;
  • doesn’t jeopardize the success of the work without having it succumb to the sentimentality of prettiness or become unintentionally decorative?
  • How can you manifest emotion, and stir the viewer through color, without melodrama taking over?
  • Can color become a form of visual poetry and transcend the theories that define it?
Over the years, my work has been influenced by the paintings of Mark Rothko, Jules Olitski, Helen Frankenthaler, Nicolas deStael, Morris Louis, Claude Monet, Edgar Degas, the drawings of Rodin, Michelangelo, DaVinci, Gustav Klimt, and the architecture of LeCorbusier, Zaha Hadid, Frank Gehry, Robert A.M. Stern, Hugh Newell Jacobsen, and Sarah Susanka.
I’ve been making art since I was five. My formal studies began at the age of thirteen. I was accepted to the High School of Music & Art in New York City, and became an art major focusing on painting and architecture at Bennington College in Bennington, Vermont. I spent roughly thirty years helping “change the world” through professional employment in politics and media. Three years ago I returned to my first loves, the visual arts and writing. I teach “Drawing From Within” at Living From Within, the holistic health center located in Conway.

03.07.14 - Steven Hawkins Everything Theory



Steven Hawkins uses a massive single framework of physics that fully explains and links together all physical aspects of the universe in his Everything theory, which unites gravity and the quantum theory in a marriage  that humans can understand without the high IQ of Hawkins.

Stephen is still an active part of Cambridge University and retains an office at the Department for Applied Maths and Theoretical Physics. His title is now Director of Research at the Centre for Theoretical Cosmology.

I am lucky enough to have one of my paintings in Steven’s officeEver at Cambridge. In secret I hope that some of his smarts comes to me through osmosis since he has one of my paintings. Tai Lopaz has a wonderful series of lectures called “The Grand Theory of Everything.” It is wonderful to see how osmosis, science, art and pod casting all work together in harmony.




18.06.14 - Ghost House by Frost and Klementovich


Ghost house highGhost House by Frost

I dwell in a lonely house I know
That vanished many a summer ago,
And left no trace but the cellar walls,
And a cellar in which the daylight falls,
And the purple-stemmed wild raspberries grow.

O’er ruined fences the grape-vines shield
The woods come back to the mowing field;
The orchard tree has grown one copse
Of new wood and old where the woodpecker chops;
The footpath down to the well is healed.

I dwell with a strangely aching heart
In that vanished abode there far apart
On that disused and forgotten road
That has no dust-bath now for the toad.
Night comes; the black bats tumble and dart;

The whippoorwill is coming to shout
And hush and cluck and flutter about:
I hear him begin far enough away
Full many a time to say his say
Before he arrives to say it out.

It is under the small, dim, summer star.
I know not who these mute folk are
Who share the unlit place with me—
Those stones out under the low-limbed tree
Doubtless bear names that the mosses mar.

They are tireless folk, but slow and sad,
Though two, close-keeping, are lass and lad,—
With none among them that ever sings,
And yet, in view of how many things,
As sweet companions as might be had.

The woods come back to the mowing field high

28.05.14 - James Wyeth a legend among lobster, ocean, and sand in Maine

Who knew that James Wyeth, son of realist painter Andrew Wyeth and grandson of illustrator N.C. Wyeth lives in the Rockland Maine area? What an interesting find. James was one of the major painter’s downtown in NYC with Warhol and Basquiat. James had his first one-man exhibition at Knoedler Gallery in 1966 at the age of 20. During his friendship with Warhol, the two shopped for antiques and taxidermy specimens together, attended art exhibition and gallery openings, discussed popular culture, and exchanged ideas. Warhol would often visit­ Wyeth’s farm in Chadds Ford, Pennsylvania. The three painters were ahead of their time and helped forged a new era in painting during the 60’s and 70’s.

Jana from the Carver Hill Gallery, in Rockland, Maine, has some fascinating history of the Wyeth family. She is also expansive in her curating skills as gallery owner of the Carver. Jana is a natural art historian and is a great supporter of modern art work in the area. I am so fortunate to have Jana showing my Birch series of paintings from the New England Expressionism group.

download (2)


download (1)

16.05.14 - Commanding a museum

Always leave foot prints on Mars sm


When a painting commands a museum, meaning people stop before the painting in awe, I wonder what is happening to the atmosphere that commands a room full of visitors to admire a painting? The brush stroke, the energy of the work, the colors lying on top of the others colors, these are some of the conditions  for people to admire a paintings. It is really a mystery, perhaps that is why visitors go to museums, the mystery. The logical reasons disappear and the enjoyment of painting prevails.

Which lead us into a similar thought process, why does a certain mountain commands a sky? Why is this so? Does the size of the mountain, death rate of climbers, or folklore captivate the onlookers towards certain mountains. The similarities of paintings to mountains is a thought process worth exploring.

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