About the
art:
I loiter
in fine art museums to gape in awe at the masters' works and study their
palettes, compositions and brush strokes. Often I'm 'harumphed' at
by museum guards who think that maybe three inches between my nose and
the painting behind the stanchions is just a little too close. [Did
you know that "harumph" in Danish sounds just like "harumph" in English?]
Whether
working in oils, acrylics, or mixed media, I try to match medium to the
intended atmosphere of my paintings. I prefer to paint on surfaces
with texture, something with tooth to it. If the painting surface
hasn't got sufficient texture, I'll give it more by applying on either
a heavy gel medium or a quick-curing gesso, or by impasto.
It's
not what you look at, it's what you see. -- Henry David Thoreau
Usually
I work alone in the studio, with the exception of the family cats who always
seem to be on the wrong side of any closed door. I need music to
work by that echoes the nature of the current artwork: jazz, classical,
flamenco, good ol' rock'n'roll, rhythm 'n' blues, or movie sound tracks
- guitarist John Williams, Sting, Paco Peña, Seal, Pink Floyd, David
Bowie, Annie Lennox, Carlos Santana, Al Di Meola, John Lee Hooker, Danny
Elfman, Django Reinhardt and Carl Stalling are among my old favorites.
For
the compositions, I draw mostly on my own memories, dreams and nightmares.
I confess a passion for research and tangent-chasing, leading me to see
remarkable parallels between the various world mythologies. Humanity's
forbidden and lesser known histories have always beckoned to me, and I
try to peel back the veneers imposed upon civilization and the human psyche
to see what lies beneath them, working to decipher what I find there using
the tools of symbol, metaphor, and archetype.