72 Watercolor artist | FEBRUARY 2019
others typically rely more on manmade color and texture. Similarly, the beauty
of natural textures dominates in Bermuda. I consider all of these aspects and
more to get to what I feel are the essential qualities of each location.
I carefully compose and execute each painting using multiple layers of color
over an initial drawing. h ey’re done in the studio from plein air studies and
photos. In spite of the fact that cities are often teeming with people, many of
my city portraits have few—if any—people in them for several reasons.
Primarily, I like to portray the environment itself, create a sense of quiet, and
attempt to build a connection between realism and abstraction. When I do
choose to incorporate a i gure, it’s not random; i gures are carefully considered
and crucial to the storytelling. Although I highly develop my paintings, I hope
that they’ll occasionally leave the viewer with a sense of ambiguity.Philadelphia and New York City
I live just outside Philadelphia and a short drive away from New York City. With
such easy access, both locations have provided me with endless inspiration, ample
opportunity to exhibit my work and places to teach. Despite some dif erences,
I enjoy painting both cities equally. I typically prefer portraying them in winter,
or at least at times when there aren’t any leaves on the trees. h e cityscapes can
sometimes have a gritty sense of isolation and world-weary ennui that can be
interesting in a painting and give the work a touch of edginess.ABOVE
Smiths on Eighth (watercolor on
paper, 21x30) shows the morning
light on Eighth Street as it cuts
across midtown Manhattan. It
depicts a time of year very close to
“Manhattanhenge,” when the
sunlight cuts directly across
Manhattan. The challenge was to
depict the chiaroscuro light and
dark, while maintaining clear
visibility in both areas. Primary
colors in the signage, taxis and
pavement dominate the saturated
color palette.OPPOSITE
Cosi (watercolor on paper,
14½ x11½ ) has an almost
Mondrian-like abstraction.
Various refl ective surfaces
combine in this painting of a
restaurant in Philadelphia to
show, not just what’s in front of
us, but the buildings behind us as
well. The strong colors vibrate.