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When I paint, my primary objective is to capture the image as closely a possible. Beyond that however, is another purpose to explore the meaning of the word "progress". I believe that progress has two sides: A positive one which inspires and enhances our society, and a negative one which can result in the destruction of valuable iconography.
This is an issue that planners and designers have struggled with for many years. It is often difficult to assess the importance of existing structures, the value of which is subjective and dependent on the emotions, whims and financial considerations of the time. Great battles have been fought over property, with the outcome visible only in hindsight. A famous example of this is Penn Station in New York, a beautiful beaux-arts masterpiece whose demolition in 1963 is still mourned to this day.
Although this subject may not be new, I believe that there has lately been a great increase in "negative progress". Consider the proliferation of national chain stores (WalMart, Starbucks, Home Depot, Gap, etc.) which force smaller local competitors out of business. This process destroys the unique look, feel and character of a community, replacing it with a generic collection of boxes. Almost overnight our country has been transformed into a giant strip mall, with the same cluster of stores replicated on every corner. The rich visual landscape of America's cities is disappearing, to exist only in books and memories. By focusing on these endangered places, I hope to celebrate their charm, raise awareness and inspire others to help preserve our cultural legacy.
The style of painting I use (photorealism), is especially well suited for this task. Each piece is meticulously drawn and painted by hand, using photographs only as reference. No computers, printers or airbrushes are used in the final product, just good old-fashioned brushwork. The entire process can take 4-6 months. Working in such a deliberate manner allows me to control the process, creating a heightened reality which I believe transcends the boundries of traditional photography.
I am captivated by the beauty which surrounds us yet goes unnoticed; rough brick walls and gritty sidewalks. Doorways half-hidden in shadow, walls of cracked paint and the weathered lettering on old signs. My scenes usually include people, lending an air of life and vitality. This is a departure from most other realist painters, who usually depict urban settings as empty spaces, coldly de-populated. My style is rooted in the classical school of representational art, referencing many sources; Gustave Caillebotte, Edward Hopper, Robert Bechtle, Richard Estes. I hope that the work will endure as a sort of time capsule, providing a glimpse into the spirit of our time for future generations.
Photorealism is a wonderful challenge. It requires patience, a sharp eye and steady hand.
It also helps to be obsessive-compulsive, with a touch of masochism thrown in. Demanding as it is, the quest to achieve perfection can be quite addictive. I suffer happily.