MY APPROACH TO PAINTING
I come from a place of classical realism, but I treat it more like a starting point than a rulebook. Having studied in France, I understand the structure, the discipline, the tradition—but I like to shake it up. Since I grew up in rural farmville, Ontario, I like to call it my slash-and-burn approach to classical realism.
With one good eye, I paint the light the way I see it, translating it into hue, chroma, value, form, and perspective, backed by solid draftsmanship. The foundation may be classical, but the expression is all mine. Consider it realism with a pulse, mixed with heavy amounts of light and shadow, some thick smoke, and a lot of curiosity - and loud, loud music.
With one good eye, I paint the light the way I see it, translating it into hue, chroma, value, form, and perspective, backed by solid draftsmanship. The foundation may be classical, but the expression is all mine. Consider it realism with a pulse, mixed with heavy amounts of light and shadow, some thick smoke, and a lot of curiosity - and loud, loud music.
.jpg)
TAKE A LOOK AT WHAT I'VE BEEN DOING
PAINT
FABRIC
MUTI
FRAGILE
DRAWINGS
LIFE WORK1
LIFE WORK2
BEFORE
