This is really the Lake House series and it came and went several times over several years. On many a given day I could be found sitting atop a ladder sketching the scene below. What was this fascination with floor boards, the contents of glassware and the spread of shadows across the various surfaces and textures below, and of course the absence of any form of horizon line? Well, there you have the answer.

The work was all about where you’ve been, what was the time of day where you have looked but not seen and what you leave behind when you go. That’s my bum print on many of those chairs and cushions. The aerial drafting continues and the impressionistic paint application evolves as the need to describe the situation takes over from the pictorial splendor and calmness that pointillism demands. As it turns out the hard lighting is the key to using this form of perspective in the work and having it read correctly. Often the painting can be dated by the headline on the newspaper depicted within the still life, and political moments were often chosen specifically.

These were happy, guilt free and optimistic works, very easy to live with and designed to include specific memorabilia.