When I finally returned to photograph the tail waters below the dam, I arrived before sunrise. I looked to the east and realized that the sun was going to come up directly behind me and the dam was going to cast a shadow over the landscape. At first, having most of composition in shadow was […]

The generosity of the medium, as Lee Friedlander would later put it, describes the chaos of the backstage scene and its attending excitement: note the missing bulb over the mirror, the awkwardness of Andy shaking hands while holding both a tape recorder and camera, the shadows of guitars on the wall, the lone hair brush […]

Over the years, beginning in the 1990’s during those extended painting campaigns on the northwest Irish coast where the corrosive impact of weather drastically revised my own expectations of form, I’ve become much more interested in what places feel like rather than with making transcriptions of conventional appearance. Stuart Shils, “The Last Days of Summer.” […]

The spectacle we all saw on TV of ruined homes and homeowners, a somber-faced reporter asking someone who lost her home or, in too many cases, a loved one, “how do you feel?”—it was just was too much for me. What kind of answer did they want, those reporters? Peddling tragedy for ratings was repulsive […]

The title came to mind while I was painting. I envisioned North Truro on lower Cape Cod, wandered to Mykonos, followed by thoughts of Matisse’s Morocco paintings which led me to recall Paul Bowles’ The Sheltering Sky, soon I was hearing Dylan’s Tangled Up in Blue… Emilia Dubicki ‘White Curtains @ the Blue Motel’ 2013. […]

A limited palette lends itself to the method of working from inside out: from the center of a color scale towards its poles. A painting starts within a narrow range of color-values and expands outwards, as I grope to overcome the limitation of the resources and broaden the range of tones, temperatures and color sensations. […]