Apple in Kaleidoscope Light, 5"x 7", oil

“I found I could say things with color and shapes that I couldn’t 

say any other way – things I had no words for.” 

Georgia O’Keeffe

When I set up this still life I wanted to create a simple composition--an apple on a cobalt plate with a teaspoon next to it. The light was extremely bright that day, resulting in a background that became a kaleidoscope of lights reflecting the varied colors of the objects. I was tempted to make an abstract painting, but resisted the temptation and put as much effort into creating the brightest and most colorful image I could paint.

In the Afternoon Light, 6" x 8", oil

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(This piece is in a private collection in Burien, Washington)

“How swiftly the strained honey

of afternoon light

flows into darkness

and the closed bud shrugs off

its special mystery

in order to break into blossom:

as if what exists, exists

so that it can be lostI 

and become precious”

― Lisel Mueller

With "In the Afternoon Light" I wanted to capture the glorious light that comes through the North window and onto my still life's objects. The glass takes on a life of its own and looks like it is filled with pieces of precious stones. (I have always been fascinated by those drops of light that glow like diamonds.) The colors of the fruit receive a warm glow when the light spreads to them, enriching everything it touches and giving the painting an inner life.

Morning Light, 6"x 6", oil

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(This piece is in a private collection in Pearland, Texas)

"Colors change; in the morning light, red shines out bright and clear and the blues merge into their surroundings, melting into the greens; but by evening the reds loose their piquancy, embracing a quieter tone and shifting toward the blues in the rainbow.  Yellow flowers remain bright, and white ones become luminous, shining like ghostly figures against a darkening green background."

― Rosemary Verey, The Scented Garden, 1981

This painting was done mostly during the early hours of the morning. I liked the reflections of the light through the glass onto the table. The light doesn't reach far enough to bathe the apple as well and because of that it looks dark but rich in color. The painting was done in the alla prima technique.

Tangerine  Sunset, 6"x 8", oil

“Soon it got dusk, a grapy dusk, a purple dusk over tangerine groves and long melon fields; the sun the color of pressed grapes, slashed with burgandy red, the fields the color of love and Spanish mysteries.”

― Jack Kerouac, On the Road

"Tangerine Sunset" is a still life that has a life of its own. I wanted to create a bright composition that started with the radiant color of the fruit and have it spread over the object accompanying it and continuing on into the background. The orange glow of the satin cloth took on the appearance of a landscape seen in a glorious sunset. The cup is decorated with a design inspired by the Spanish architect Antoni Gaudí. It was a gift from my daughter when she visited Spain.

Ripe Pears on a Plate, 6"x 8", oil

"A man watches his pear-tree day after day, impatient for the ripening of the fruit. Let him attempt to force the process, and he may spoil both fruit and tree. But let him patiently wait, and the ripe pear at length falls into his lap!" 

―  Abraham Lincoln

"Ripe Pears on a Plate" was inspired by Fiorelli pears that I admired at the market and bought with the idea that they would make for a wonderful painting. They provide bright and colorful ornaments on the plate, but, having always loved fruit above any other food, I had to resist a strong temptation  to eat my still life before it even found it way onto the canvas...

Pink Rose with Shell, 6" x 6", oil

"There is nothing more difficult for a truly creative painter than to paint a rose, because
before he can do so he has first to forget all the roses that were ever painted."

―  Henri Matisse

When I started to paint "Pink Rose with Shell" I was interested in capturing the delicate colors of the rose and shell. But by using a folded, golden silk cloth as a background my interest shifted. I noticed that it had added an interesting landscape-like formation of hills and sunset light. The sheen of the cloth gave depth and luminosity to my still life. I am very happy with the outcome.

Yellow Flowers with Egg and Lime , 6" x 6", oil

“Daffodowndilly

She wore her yellow sun-bonnet,

She wore her greenest gown;

She turned to the south wind

And curtsied up and down.

She turned to the sunlight

And shook her yellow head,

And whispered to her neighbor:

"Winter is dead.” 

― A.A. Milne, When We Were Very Young

"Yellow Flowers with Egg and Lime" was my reaction to the first signs of springtime. When I saw the verdant tendrils of spring peaking at me through my window, I knew it was time to change my pallet. Giving it an "extreme make-over", I swapped out the dark hues for my brightest colors. My composition kind of emerged by itself. When I was done, I put my brushes down immediately as to not lose the freshness of the image I had just created.