My initial inspiration, I believe, grew out of concern for the destabilizing and immense effects of global climate change, a sense of nature out of control and giving birth to unnatural and cataclysmic phenomena. 1/3
Thanks to the #bahn I got 4.5 hours at the station in #rosenheim yesterday to finish this drawing.
I hope you like the feather-lion ⭐.
Also a greeting to all fellow travelers and fellow victims during this time.
Also known as VIEWPOINT. This is a tangent point between The End of Nature paintings and The Virtues. For me, the butterfly represents the fleeting nature of life.
A WORLD OF LIGHT AND SHADOW (2011)
Acrylic on Gessoboard - 20” x 40”
I’m as surprised as the next person when some of these ideas come to me and tell me that they need to be painted, especially the ones that come in my dreams. 1/3
This window was suggested by shapes at the Whitby Abbey, Lincolnshire England. (Nothing to do with the painting, but Whitby is where Count Dracula landed when he arrived in England...)
Am schönsten lassen sich Bilder anschauen, wenn Du sie in den Händen hältst, auf einem Bogen Papier oder in einem Bildband. Ich stelle Dir gerne nach unserem Shooting einen individuellen und einmaligen Bildband mit den schönsten Fotos zusammen.
MEMORY OF A DISTANT SEA (1999)
Acrylic on Canvas - 20" x 16"
Whenever someone asked me what I do for myself, up until 1987 my answer was always my illustration because that’s what I chose to do. That’s all I envisioned myself doing, but something happened. 1/3
In Hoi An, Vietnam, this charming street is adorned with vibrant red silk lanterns that cast a warm, inviting glow on the rustic yellow walls. The scene captures the essence of traditional Vietnamese culture, offering a serene and enchanting ambiance under the night sky.
I was the Artist Guest of Honor of the Australian National Science Fiction Convention in Sydney in 1992. After the convention, my family and I spent some time traveling around the country. 1/4
PASSAGE: THE RED STEP (1988)
Acrylic on Canvas - 44" X 33"
I was probably clinically depressed when I painted this. Stymied by the first serious artistic block in my illustration career, I felt helpless to do anything but fret for a couple of weeks. 1/2
WARMING HER WINGS (2012)
Acrylic on Panel - 11" x 14"
In fall, the sun sets on the west side of our property to shine through the trees. On a humid day, the light seems suspended in the thick air, spreading against the dark shapes of the trees, fanning golden brilliance across the green lawn. 1/4
BROKEN CHAIN (1998)
Acrylic on Watercolor Board - 24" x 15"
A simple composition with a fairly simple message. On our way to the next plane, we leave behind earthly pleasures and some small marks on our environment.
This painting started out to be just a morning exercise, kind of a companion idea to TIME'S PASSING. But once I added the water, I was drawn into the scene—pardon the pun—and it ended up being a finished work.
THE SCALE OF ETERNITY (1999)
Oil on Gessoboard - 25" x 40"
On close examination the linear form the man is climbing is marked with gradations like a ruler. At the time I painted SCALE, I was thinking a lot about our innate drive to quantify, judge or rate aspects of our collective human experience. We can't seem to overcome our need to define the best, the prettiest, the most powerful or the biggest.