2018 “Best of Show” and 2017 "Frank Bette Award" in the Frank Bette Plein Air Paint Out, Alameda, CA (Juried) for “Transitional Center” and “New Rich’s”
2018 “Best of Show” Los Gatos Art Association Members Juried Show for “Sunset on the Inner Harbor”
2017 and 2016 "Best of Show" North Tahoe Arts Plein Air Open for “Racked Up” and “West Shore Sports”
2017 "Grand Jury Winner" Plein Air Competition for Santa Clara County Parks and Recreation
2017 and 2016 "Honorable Mention" Capitola Plein Air (Juried)
2016 "First Place" Los Gatos Art Association Member's show
2017 "Honorable Mention" Los Gatos Art Association Member's show
Named 2017 Signature Member of California Plein Air Painters
2016 "Featured Artist" at the historic Flying A in Truckee.
Awarded "Critic's Choice" in local art show 2015
"I Dare You" High School Leadership Award, 1975, A proud moment.
Displaying and selling work in Gallery 24, Los Gatos
Member of California Art Club and California Plein Air Painters.
Juried into the Carmel Plein Air Festival, May 2018, 3 years juried into Capitola Plein Air and 2 years juried into Frank Bette Plein Air in Alameda
Taught an intermediate oil landscape class in Lake Tahoe with master painter Randall Stauss August, 2018
Attended the Plein Air Painters of America Master painting class in Cartersville, GA and had a 2 day workshop with Matt Smith, 2 days with Jill Carver, and a day of intensive lecture from 10 of the top PAPA artists.
Previous workshops with: John Cosby, Randall Stauss, Scott Hamill, John Crump, Richard Robinson, Billyo O'Donnell.
Majored in Art at DePauw University with an emphasis on oil painting. Outstanding Senior (voted by Art Students) and Best of Show in Senior Art show.
Apprentice for two professional painters in New York City: Jack Beal (large figurative works) and Jane Freilicher (large studio and landscape works). Interned in Fischbach Art Gallery and Franklin Furnace Art Books
30-year career in high tech as corporate events planner, marketing communications, and newsletter editor and returned to painting in 2012.
I had no doubt when I got back into painting again in 2012, after a 32-year detour: The fastest way to become proficient again is to go through the process of producing a painting quickly, and move on to the next painting. Painting outdoors, “en plein air” is the perfect vehicle for such a process. The moving sun acts as a pace car to lead me through a painting quickly; to discover a scene, compose and block in the design, mix and apply paint, and make adjustments. Those early finished paintings were set aside as I moved on- they were rough, but I was confident that if I painted well as a senior in college, I’d find it again as a senior in life! I needed to be patient and put in the work.
And sure enough, things got better. I learned so much but particularly these two things: once I started mixing the right value- not so much the right color- I had a stronger painting. Compositionally, focusing on a portion of a scene tells a better story and is more intriguing than the whole panorama. My compositions are usually designed from dark and light patterns; this moves into the abstract and there are so many abstractions in nature: big shapes, light contrasts, planes of space. I hope to push that more in the future. But it all starts as a singular concept.
I can’t really understate the joy in painting outdoors in California, with it’s temperate climate and range of subject matter. I’m fascinated by light and getting the sense of it, so anything under the sun is fair game to explore. Beyond coast and mountains, I’m adding figures, architecture and exploring interiors, with the challenge of a moving light source. I really don’t think it gets much harder! I enjoy working in the studio too but am so often seduced by a beautiful day to paint outside.
There’s actually a third lesson I’ve learned: patience. Not every day outside is without physical discomfort (heat, cold, wind) and distraction (jackhammers, traffic, talkative onlookers). All of that makes me dig deeper and develop a laser-focus on my work of being “in the zone”. So much so, that I’m not aware of it until I “come back to earth” again. In this world of constant bombardment, it is a very healthy, almost meditative place to be.
I’m hooked on the immediacy and intimacy of plein air. I want to share what is special about this place, in this moment. I want to take the viewer by the hand and say “I saw this for you”. My goal in painting is not so much to reproduce exactly what’s before me but to paint what is the result of looking at it, and getting its essence. I acknowledge that I have a style that can be seen from one painting to the next. But it’s not my aim. I’m absorbed in trying to capture and honor the scene, without the intrusion of my style. It’s an important issue to me; honoring a scene. I respect it’s totality, and aim to paint only what is necessary to convey its essence.