Artist Statement
How we approach the work, what guides our choices, and why the practice matters.
Orientation — what this is
An artist statement is meant to be honest. It explains not what sells, but what you actually believe about the work you make—the principles that shape every choice, from material selection to composition to the final treatment of a surface. What follows is written for collectors, curious visitors, and anyone deciding whether our work aligns with their own vision.
The practice begins with material. Paint is ancient, immediate, and tactile. The moment it touches a prepared surface, it starts to become something else: not what was planned, but what the medium itself allows and suggests. We respect that negotiation. We work with quality pigments and traditional binders because they age well, deepen over time, and reward long looking. The intention is to make something worth coming back to.
Common sticking points
- Why hand-applied rather than giclee or digital print?
- Each piece carries the actual mark of the hand that made it. That presence—the texture, the variation, the evidence of decision-making across the surface—is part of the work. It cannot be reproduced exactly, and that unreproducibility is the point.
- What's your process for choosing subjects?
- We photograph extensively in our region and beyond, looking for compositions that hold spatial complexity: light playing across surface, depth created through color relationship rather than perspective, moments that feel observed rather than staged. Subjects come from attention to what's actually there.
- Do you take commissions?
- We occasionally accept commissions for work that aligns with our practice. The timeline is usually 4–6 months. A conversation about scale, subject, and your space comes first, and we reserve the right to decline if the direction diverges from what feels authentic to our work.
- What happens if I want to install one of these works in a challenging environment?
- We're happy to discuss conservation needs. Pieces made with traditional materials do best away from direct sunlight, extreme humidity shifts, and heat sources. We can advise on framing, protective glazing, and ongoing care specific to the piece you choose.
The reference table
These categories describe how pieces are organized and priced, not as a menu but as a map of what exists in the studio right now.
| Series | Typical size | Materials | Approach |
|---|---|---|---|
| Landscape Studies | 18×24" to 24×36" | Acrylic on prepared canvas, usually unframed | Observed compositions from New England and beyond, emphasis on light and atmospheric depth |
| Interior Investigations | 12×16" to 20×24" | Mixed media: acrylic, charcoal, collage on panel | Domestic spaces as subject, exploring the visual language of inhabited rooms |
| Color Explorations | Variable, typically under 16×20" | Gouache and watercolor on paper, matted or framed | Studies in color relationship and optical mixing, often gestural and quick |
| Architectural Details | 24×30" to 30×40" | Oil on canvas, often framed in natural wood | Close views of structure, pattern, and surface in buildings of architectural interest |
| Pricing is available on request once you've seen the work in person or via studio visit. No work leaves without having been seen by the person who will live with it. | |||
How to use it
Visit the studio or arrange a viewing
We maintain an open studio the first Friday evening of each month, or by appointment. Visiting in person is the ideal way to understand scale, surface, and color. Digital images are a start, but they compress the depth and luminosity that the actual work carries.
Talk about what speaks to you
Tell us about the space where the work will live, the light at different times of day, and what you're drawn to. A piece that works in one room might feel wrong in another. We're invested in that fit.
Understand the material's needs
We provide information on framing, protection from sunlight and humidity, and what to expect as acrylic, gouache, and oil age. These are archival materials meant to last generations. A little attention keeps them true.
Let it settle into its place
The first months after hanging are often when a piece reveals itself. Colors shift slightly with the light at different hours. Compositions resolve differently than they did in the studio. That's the work doing what it's meant to do.
The detail
