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More often than not people react to my work through colour and colour relationships and the comment I hear most often is about colour and the emotional effect.  This summer people have been gravitating to the small single sculptures of fruits and vegetables where I have kept the shapes clearly abstacted and the glazes intense.  They are forming their own compositions of several pieces and colours for their counter tops and shelves.  Glazed ceramics look wonderful on granite countertops.  The two materials really love each other.

When it comes to my enccaustic paintings I really like that drift into abstraction.  What exactly does that mean?  For me it means that colour, shape and structure are distinct and that I emphasize colours and shapes clearly as they relate to each other.  I like these relationships between the elements to be strong and I want the structure, pattern and colour to deliver emotion.  I like to describe something that interests me by means other than simply illustrating it so I will minimize some shapes and exaggerate others to that effect.   On the whole, I do not intend that the work completely abandon representation nor do I wish the idea of representation to dictate an outcome. 

Colour theory is very useful and while I tend not to rely on it, I do not gravitate to or choose a colour unless it is “called” by another.  It is a response to the painting and by keeping the mind out of it, colour is then useful in shaping the form, one colour shape followed by another.  No two relationships are ever exactly the same leaving plenty of room for invention.  I try not to fall in love with any one thing. To do so would negate the whole.  Instinct plays a part and the love of the “big picture”...of nature keeps work fresh and even surprising.  I do not want to paint an exact landscape or garden, I would rather paint about landscapes, about the surprise of the natural world.  

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