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My spiritual work is where my heart is. I have always painted Angels and spiritual entities and probably
always will. Its part of the connection to a higher state of consciousness, a more cerebral, enriching thought process that
I have felt even before I became really serious about my works' content. Now, I can't seem to do a piece without spending
a lot of time on its concept and design and hopefully I will be able to take new work much further into areas I don't
even know about yet. That's the most exciting part of new art- like a movie being produced, where the artist is the director,
but the whole idea isn't clear until the final editing, or brush stroke.
Much as I admire great technique,
wthout deeper meaning, it would become boring and lifeless for me to just do a painting that looks good but has no real soul
to it. I am lucky to be able to make a living as an illustrator, as this keeps my fine art free from commercial gallery restraints
and my mind open to new avenues of thought and process. I paint spiritual work for my self, but its interesting to find that
most people who see these pieces feel its my best work and respond to them in a way that is both gratifying and fullfilling.
Its that connection that artists want - when another person feels touched by a piece, and its a real stimulus to do better
and more meaningful images,
My Angel images are not specifically Christian, but universal, as I feel religion
is -within each of us. Hopefully you will like some of these, but more importantly, you may find some meaning there that is
a connection to some universal truth.
On all pages, if the cursor turns
into a hand icon then that image can be seen larger in a separate window.
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| Incoming Wave oil on canvas 4x6 ft |
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| Morning 48" x 60' oil on canvas mounted to panel |
Click here to see a demo of Morning
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| Comes the Dawn 42x64" oil on canvas |
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| Faith and the Sword oil on panel 30x50" |
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| Faith and the Sword oil on panel 30 x 50" |
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| Caverna Magica oil 5x7 ft. |
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| At the Gate oil on canvas 48x70" |
Click here to see a full Demo of At the Gate
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| Far Below oil canvas 48x48" Private Collection |
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| Figure study for Angel at the Gate 24x36 oil 4 hrs Private Collection |
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| Detail of the study above |
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| The Passing of Time oil 40x56" |
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| Following the Light oil 40x54" |
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| The Sentinel oil canvas 48x60" Private Collection |
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| New Begginings oil canvas 40x60" Private Collection |
Here's an example of what I sometimes have to go through to get a painting to where it looks right, at
least for what I was shooting for. On the left, the 2nd set of wings I blocked in, then a few more, then to the right I finally
settled on this milky blue-gray tone that seemed to fit the rest of the painting. I think i even had green wings worked out
at one point. Even with a comp, when you make up areas, which I do all the time, it's considerably more difficult than
if I had something to paint from. Not that it's better or worse to do so, just that in doing this sort of image, each
artist always has to be more inventive and use whatever it takes to get the image to look good overall, not just in parts.
Painting opaquely helps, of course, since you can essentially correct or adjust what paint may have dried beneath, or just
repainting into the wet areas. But there is nothing better than to have the drawing and composition worked out before you
begin to paint, that way you can concentrate on color and value and edges. Some objects, like these wings, simply do not translate
well in a pencil sketch or charcoal, and usually, at least for me, have to be worked out as I lay in the color.
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| To Be Mortal 48x60" oil canvas Private Collection |
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| Mary's House 40x56 oil canvas Private Collection |
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| The Heart of a Tree Private Collection |
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| Passing On oil canvas 40x56" |
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| Rough concept sketch-marker on envelope_I sketch when the idea hits me |
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| On the road to Heaven 40x40" oil canvas |
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| On the Road to Heaven - detail |
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