I love to produce artwork that is unique from my perspective as an architect.
I have been drawing for as long as I can remember. As a young child, I would fill in every last bit of blank margin on the church program with some sort of drawing. Very spatial thinkers, my parents were not artists, but could do anything with their hands. I learned from them how to build and fix things, and making a sketch was a natural part of the process. My brothers and I used to draw for hours together.
My brothers went on to art school and are both accomplished painters. I have never received any formal training outside of junior high school art class.
Later, I learned to construct perspectives by hand in architecture school, but the techniques I use in a painting are self-taught. They have been developed over the years in my architectural practice as required to illustrate projects. As a result, my art pieces are often multi-media. I use whatever medium it takes to create the look I want - acrylic paints, pastels, Prisma pencils, markers, and even airbrush. In addition to traditional brushes and pencil points, I like to blend and move color with my finger tips. I enjoy layering the various components of a painting to add depth to each piece. I typically do color work on illustration board and Masonite panels, but I also still love to draw more informal pencil pieces on paper.
I prefer compositions that are modern, and avant-garde, but the subject matter I prefer to paint has as a more nostalgic feel. This unlikely combination has led to a style of painting that is appreciated by modernists and traditionalists alike.
Many of my fine art pieces are documentaries of historic places, vintage vehicles or antique objects. My own enjoyment of driving sports cars on track since the early 70’s has been a natural influence on my “industrial design” art interests. The research is fascinating, but it takes a tremendous amount of time to learn about the subject, decide what images I want to combine to tell the story, and also how all of the elements fit together to form a pleasing and powerful composition.
With this accumulation of information, and properly scaled images, the paintings take a great deal of time to complete as well. For example, a painting as involved as the Main Street Station piece that I created for the Richmond train station’s grand opening, could take as many as 200 hours in the actual production -- not including the research.
As the architectural profession becomes more influenced by, and dependent on the computer, my interest in the building arts has not diminished; however, my passion for the classic hand techniques of fine art has grown even stronger.
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