Trifecta
36 cm x 23 cm
Oil on Museum Board.
Unframed.
A small plein air study in the tranquil woodlands near my studio, where a persistent swarm of mosquitoes and horseflies became uninvited companions, doing their best to deter my brother Luke and me from our creative endeavors. I aimed to work intuitively, as there is no time for delay when painting outdoors, especially as my tally of itchy bites continued to grow.
Upon reflection, I noticed the harmonious trio of colors—green, orange, and violet—had played a significant role in the trees I had chosen to paint. They began to take on a deeper significance.
The composition is anchored by three sturdy tree trunks, acting as guides to the viewer. Each tree took on the hue of the harmonic triad: green, orange, and violet.
The spectrum of greens, perceived by the human eye, evokes harmony, tranquility, and freshness, ranging from deep and mossy to vibrant and sunlit. Thoughtfully placed orange add bursts of energy to the composition, while violets, like gentle shadows, lend depth and intrigue.
My goal is to create a visual rhythm with color, spacing, and mark-making, echoing the harmonious patterns found in nature at every level.
To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour, as Blake once wrote.
Nature is like God's fingerprint, the ultimate masterwork—let that be your only teacher, was Rembrandts advice. It's the wellspring from which all creative endeavors flow, visible in the smallest detail and the grandest vista. This profound connection reminds me of the scripture: 'For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead.'
My efforts are an attempt at creating a lively distillation of what I was seeing.
36 cm x 23 cm
Oil on Museum Board.
Unframed.
A small plein air study in the tranquil woodlands near my studio, where a persistent swarm of mosquitoes and horseflies became uninvited companions, doing their best to deter my brother Luke and me from our creative endeavors. I aimed to work intuitively, as there is no time for delay when painting outdoors, especially as my tally of itchy bites continued to grow.
Upon reflection, I noticed the harmonious trio of colors—green, orange, and violet—had played a significant role in the trees I had chosen to paint. They began to take on a deeper significance.
The composition is anchored by three sturdy tree trunks, acting as guides to the viewer. Each tree took on the hue of the harmonic triad: green, orange, and violet.
The spectrum of greens, perceived by the human eye, evokes harmony, tranquility, and freshness, ranging from deep and mossy to vibrant and sunlit. Thoughtfully placed orange add bursts of energy to the composition, while violets, like gentle shadows, lend depth and intrigue.
My goal is to create a visual rhythm with color, spacing, and mark-making, echoing the harmonious patterns found in nature at every level.
To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour, as Blake once wrote.
Nature is like God's fingerprint, the ultimate masterwork—let that be your only teacher, was Rembrandts advice. It's the wellspring from which all creative endeavors flow, visible in the smallest detail and the grandest vista. This profound connection reminds me of the scripture: 'For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead.'
My efforts are an attempt at creating a lively distillation of what I was seeing.
36 cm x 23 cm
Oil on Museum Board.
Unframed.
A small plein air study in the tranquil woodlands near my studio, where a persistent swarm of mosquitoes and horseflies became uninvited companions, doing their best to deter my brother Luke and me from our creative endeavors. I aimed to work intuitively, as there is no time for delay when painting outdoors, especially as my tally of itchy bites continued to grow.
Upon reflection, I noticed the harmonious trio of colors—green, orange, and violet—had played a significant role in the trees I had chosen to paint. They began to take on a deeper significance.
The composition is anchored by three sturdy tree trunks, acting as guides to the viewer. Each tree took on the hue of the harmonic triad: green, orange, and violet.
The spectrum of greens, perceived by the human eye, evokes harmony, tranquility, and freshness, ranging from deep and mossy to vibrant and sunlit. Thoughtfully placed orange add bursts of energy to the composition, while violets, like gentle shadows, lend depth and intrigue.
My goal is to create a visual rhythm with color, spacing, and mark-making, echoing the harmonious patterns found in nature at every level.
To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour, as Blake once wrote.
Nature is like God's fingerprint, the ultimate masterwork—let that be your only teacher, was Rembrandts advice. It's the wellspring from which all creative endeavors flow, visible in the smallest detail and the grandest vista. This profound connection reminds me of the scripture: 'For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead.'
My efforts are an attempt at creating a lively distillation of what I was seeing.
