ABOUT THE ARTIST

From my very beginning, while as a student at UMass Amherst, I have done all my paintings Plein-aire. Often this involves either sitting on a sidewalk for a day’s work and witnessing occasional strange human antics, or multi day camping trips and hikes. But, sometimes elements in a scene can change fast, so I take a photo anyway in case I need help rendering it to how I first remembered it.

I never have had to look for scenes that motivate me enough to invest the work and logistics time of painting them, I just find them, more than I’d ever have time to do all of. I single out those that have a good proportion of shapes and sizes in their elements, and have a lot going on in them. A variety in buildings and secondary structures like street lamps and signs, ideally some plants or geology mixed in, and either a contrasting background or a dramatic sky is a great mix. If a waterfall is the subject, my approach is a similar balance of water, rocks, and vegetation. Having a memory attached to an already inspiring scene, which many do, is a bonus.

To me, street intersections are a cross section of everyday life in the neighborhoods that I enjoy going to, with plenty of activity in front of me. Often I’m glad I am not part of my own painting! In of the flow of rivers I have found much spiritual similarity to the flow of time, and they are a peaceful opposite subject to work with when I have done enough of the other for a while.

I get out a sheet of standard 140# hot press paper and make sure I pencil in my reference point parts small enough so I have enough space for everything I want to put in, like doing the obvious parts of a jigsaw puzzle in the early stages. After that it’s all skipping around the entire surface, never from one side to the other.

Then I ink the scene, and unless I get amazing cloud formations or other passing atmospheric effects, the watercolor is added last. This method allows me to get the kind of detail I want and the rooty, fairy tale look that I like, much like my favorite album covers that were done by artists like Rodney Mattiews and Dan Seagrave.

Though I prefer my depictions as accurate as possible, over time I have given my requirements for the realism slightly less importance and the overall essence more. To tone down or eliminate obstructions, is a very minor compromise to reveal its beauty. My goal is to keep it professional enough to be easily recognizable by local residents but fun enough to not look like a photo. I also believe that when there is a scene with a main subject, like a waterfall or specific building or other structure, its surroundings are equally important.

Finally I am glad to get up and stretch, and hear people say “hey, that’s my street” or “I know right where that is”. But I know I have created a masterpiece when I hear “you make our town look better than it does”.

See me in action on site in Silverton Oregon here: 

https://youtu.be/V-ZyB8gS-BE

Ultimately I will have bodies of work from the places I have lived put into at least four coffee table style picture books, two of Oregon, one of my Connecticut River valley favorite places, and another of Vermont’s waterfalls.

I also do stained and fused glass art,  which includes 3-D insects and flowers, octopus chandeliers, and more, which you can see at its own website…

http://masonscreations.com

 

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