This is a painting from a few years back that has toured around a bit and found its way back to me. Called Inner Perception, it has been one of my favorites right from the moment it came off my painting table. Maybe the inclusion of the the paint brush (even though it is a house painter’s brush) with red paint in the bristles makes it feel more biographical, more directly connected to my own self. Or maybe it was the self-referential Red Tree painting on the wall behind the Red Chair.
I don’t know for sure. But whatever the case, it is a piece that immediately makes me reflective, as though it is a shortcut to some sort of inner thought. Looking at it this morning, the question I was asked at the Principle Gallery talk a week or so ago re-emerged, the one that asked what advice I might give my fifth-grade self if I had the opportunity. I had answered that I would tell myself to believe in my own unique voice, to believe in the validity of what I had to say to the world.
I do believe that but I think I might add a bit to that answer, saying that I would tell my younger self to be patient and not worry about how the world perceives you. That if you believed that your work was reflecting something genuine from within, others would come to see it eventually.
I would also add to never put your work above the work of anyone else and, conversely, never put your work beneath that of anyone else. I would tell myself to always ask , “Why not me?”
This realization came to me a couple of years ago at my exhibit at the Fenimore Art Museum. When it first went up it was in a gallery next to one that held the work of the great American Impressionists along with a Monet. I was initially intimidated, worrying that my work would not stand the muster of being in such close proximity to those painters who I had so revered over the years.
But over the course of the exhibit, I began to ask myself that question: Why not me?
If my work was genuine, if it was true expression of my inner self and inner perceptions, was it any less valid than the work of these other painters? Did they have some greater insight of which I was not aware, something that made their work deeper and more connected to some common human theme? If, as I believe, everyone has something unique to share with the world, why would my expression of self not be able to stand along their own?
The answer to my question was in my own belief in the work and by the exhibit’s end I was no longer doubting my right to be there. So to my fifth-grade self and to anyone who faces self-doubt about the path they have chosen, I say that if you know you have given it your all, shown your own unique self, then you must ask that question: Why not me?
I’ve been hobbled a bit over the last couple of weeks by a pinched nerve in my neck that has made any work (or sleep) almost impossible to accomplish. Hopefully, it will soon fade and I will be working feverishly again. But while it has kept me from work, it has not prevented me from thinking back on 2012 and what it meant for my work. It was truly a great year for it, one that will be hard to replicate.
Well, I got up this morning and, outside of a light layer of snow on the ground, it looked pretty much the same as yesterday. The world is still here and the Mayans have got some explaining to do for getting us all worked up. Or were the Mayans just pulling our leg the whole time?
Today I want to just show the influence of Maxfield Parrish on my work. He is certainly well known for his fairy tale-like scenes of scantily-clad young women or children in fantastical settings but I have always loved his other, lesser known work, particularly his landscapes and homescapes. 
I am also visually excited by the way Parrish used gradience in the colors of his skies, taking a deep rich color at top and drawing it down in lighter fragments of the colors that make up the original color. It creates a brilliant effect. 
Redtree Times 