1.  WHY DID YOU DECIDE TO WORK IN OIL PASTEL?

Like most artists, I have worked in several mediums, learning something from all of them, but 20 years ago after working with soft pastels for a number of years and experiencing the health results of inadequate ventilation I opted to try Oil Pastels and to my astonishment discovered their incredible versatility.  I can manipulate this medium in many ways, experiencing an ongoing discovery of new techniques and that keeps my insatiable interest going.

2.  HOW HAS YOUR WORK CHANGED OVER TIME?

Whenever we change mediums our style andtechnique changes simply by what we discover from their own peculiar characteristics.  I must admit however, and as you will witness in this current show I continue experimenting with new methods and styles.  Sometimes our work takes a turn without our realization and I say. "TAKE IT AND RUN WITH IT !"   My philosophy is: When you're green you grow, when you're ripe you rot!

3.  WHAT'S THE MOST INDISPENSABLE ITEM IN YOUR STUDIO?

Having never been asked this question before my response wasn't immediate,  to my surprise.  Logically, I would humbly say "ME" for nothing happens without the artist's presence.  But apart from that I can only say there is no one thing more important than another.  Everything in our studio is there for a specific purpose and at any given time a singleitem can be the most indispensable. Also, at my age a stool to sit on has become VERY IMPORTANT!  (Just a bit of humor )

4.  WHO IS AN ARTIST WHO STRONGLY INFLUENCED YOUR WORK?

This also is difficult answering for I have been influenced by many but if I had to choose one, Wolf Kahn would be my choice, for his creative color harmony and the essence of subject.   Everything unnecessary in his work is removed and what remains is the essence.  Two others, Jean-Baptiste-Camille Corot and George Inness both for their extraordinary tonal values and mood. 

5.  CAN YOU TELL US SOMETHING NOTEWORTHY ABOUT YOUR CURRENT WORK?

A Moment in Time

Most noteworthy as reflected in this current body of work, and as stated in question 1, is the variety of techniques and the addition of figures in one work, which I intend to do more of.   You will also detect fine lines in some of the still Life works used for designing or in outlining.  In closing I would add that I never really know how a painting will turn out because with few exceptions I don't do preliminary sketches.  Any changes I make in Composition, color, or subject matter are made during actual painting process.  I realize this is not the norm but it works for me.