Color, movement and texture are my primary concerns in the majority of my work -- that is after the initial composition and other elements and criteria have been met. Although my paintings are considered abstract in concept, many galleries consider my work "Romantic". My philosophy is that a work of art should have its own merit without having a recognizable subject matter. When viewers don't understand my work, I often mention the fact that they enjoy music without words -- why not art without representationalism?
Although one would consider my work non-representational, to me it isn't. As a sailor, most of my work is based on water, sky movements, waterfalls, and rocks observed from actual trips. Most of my work takes on a certain feeling of being lost in space or perhaps feeling insignificant in a sailboat against the endless skies and ocean -- When I take the helm and feel the total power of the wind, I feel a certain helplessness -- yet still maintain serenity as the quiet rush of the waves break against the bow. Later work is based on laser lights beaming across the clouds as remembered from outdoor laser light shows.
I like to pull the viewer into a painting by using strong diagonals and increasing the color as well as the lights and darks leading the eye to a strong focal point. My colors are limited to the mood that I want to create with usually one dominant and subdominant color enhanced by several accent tones. Paintings are started by blocking in color arrangements on extremely wet 300 lb. cold-pressed paper and allowing colors to blend. These watercolors are pre-mixed in small containers so that areas don't dry out by having to stop and mix more color. Some darks are added at this time, but I'm very careful not to add too much which would could over-mix and cause "muddy" colors. While the surface is still wet, I lay various crinkled papers on top of some areas of the paper (foil, wax, tissue, or saran wrap). When laying the textured papers on, I manipulate the shape to create a movement that inspires my feelings at that time and leave at least a third or two thirds of the paper untouched by textures. This depends on whether or not I want it to have a more negative flow with less focal point or the reverse. You only get one try at laying the paper down because it pulls the paints together as they merge under the crinkles. If you lift or move it around, you are certain to get "muddy".
The painting is then allowed to dry overnight, textured papers removed, then the decision is made as to where my focal point will be. Light and middle tone glazes are now added and about every 10 minutes, I stop to re-evaluate the flow of the work. This is the hardest part because there is nothing to rely on except one's creative ability. When I painted realistically, I could look at the subject matter to see where to go, but as an abstract painter, how do you paint what you can't see but only imagine?
Finally, after I am satisfied with the overall image and its full range of lights, middles, and darks as well as the composition and space (which usually surfaces after large glazes have been added to the composition in several layers), I then add calligraphy movements with a thin nib and thinned white opaque watercolor to enhance the overall feeling and movement.