I am so grateful to have a studio in Building 30. When the city renovated the building for art studios, they did a beautiful job creating spaces that are very functional for artists. I appreciate that the city recognizes the benefit of having active artists working in the community.
I have known that I wanted to be an artist since I was a young child. I have gotten to where I have in my career simply by continuing to make work. There is a definite stubbornness needed to keep practicing your art through all the rejections that every artist faces. You need to hold on to the successes and just keep working.
My earliest influences were graphic cartoons such as Rocky and Bullwinkle, and I hope that shows. Both my forms and the quality of my lines are directly connected to these cartoons. It is important to me that my forms have a certain casualness of character to them, an awkward gesture. I make what I call big dumb shapes. This is hard to explain, but it is this awkwardness that makes the work feel very human -- a big lumbering oaf, sincerely trying to do what is right and just missing the mark.
I live in the Pacific Northwest, and see mountains, water, clouds, and gray skies. These are the things that I paint, this is my current palette. Monumental forms can invoke a certain awe in humans, like the grand emotion of standing before large bodies of water. In my new work, the environment itself has become a big rough-hewn character, one in dire need of help.
Since the pandemic hit, I have been spending much more time walking in the woods and taking my easel out to paint from nature. The woods have kept me sane and I believe that I will continue to do more painting in nature when the stay home order is lifted.
My work can be seen at Linda Hodges Gallery and on my website.