#31 Across the Field

Here is a classic example of the 'figure/ground' relationship. There is a subject and the space around it. Make that interesting. A landscape without human elements might rely on a metaphoric composition for it`s poetry. Or banality. This one walks the line.

#30 The Field in Winter

When the leaves have finally fallen, our views open up. Space and distance are rediscovered. You can watch the storms race in from the Pacific. The bare winter branches are gold and maroon again under the huge moving sky.

#29 Evening Slough

Various waterways parallel the Willamette and
the Columbia. The rivers contain the currents leaving these backwaters deeply serene and quiet, especially in the evening. You can smell the wet and the green.

#28 Tidal Lagoon

#27

#26 Sanctuary

Beautiful idea. The state of Oregon has left Cape Meares wild, a lighthouse even warns people away. You can look down from the high cliffs onto scores of nesting birds and sea lions. There is drama and urgent business below.

#25 Path

Any painting begins with some sort of mark, anywhere. There may be an idea or reference to guide me or not. Stroke by stroke the painting is built with the best of intentions. I`ll rotate the image continuously as I work hoping something will spark. An investment is abandoned over there for this new experiment here. The stakes are high.