I came to this country in the mid 1970s and studied at the Art Student League close to 10 years. I was introduced to the techniques of the old masters by Frank Mason and studied drawing with Robert Beverly Hale. Later on, with Richard Poussette-Dart, I was introduced to Abstract Expressionism, where I began searching for my inner vision.In the mid eighties I also studied photography at the International Center for Photography for a couple of years. Living in New York City at the time, I bridged my learning of Abstract Expressionism, old masters techniques, and photography to experiment with oils, acrylics, and photo-transfers in large abstract work often depicting landscapes.
When I moved to Washington County, New York in 2000, I felt an overwhelming desire to go back to a more descriptive form of expression by studying nature again and finding a way to translate my understanding of its harmonies. I took my French easel back into the fields and let nature guide my brushes. To my surprise I found myself freed from the conventional formulas that had made me escape into abstract expressionism. Those 14 years of experimentation with abstractions paid off.
My large work can take between 3 days to 2 years to execute whether they are painted on paper or on linen. Often I paint on paper to test the subject I have in mind. Therefore the work on paper is a lot looser and sketchy. If I like the results I will rework the idea on stretched linen. My goal is not to show off how well I can render a subject/object. Instead, the inspiration of the scene added to the touch of the brush and pigments are set free to take control of the work. I am often surprised by what results... I never correct a field study. I do not want perfection to matter over interesting accidents.
These works are inspired by field studies done in Washington County, NY and VT in the USA and Poitou -Charente, France.This last 2 years I have decided to exhibit my field studies ( Plein Air).
Bio Française
Après une formation approfondie dans l’étude des techniques des Vieux Maîtres,
j’ai abandonné le réalisme pour étudier la peinture abstraite et
l’évolution de l’Art Pictural.
Au bout d’une quinzaine d’années de pratique dans l’abstraction, je suis revenue
à un réalisme classique mais épuré, influencée par les courants
actuels, tout en employant toujours les techniques des Vieux Maîtres.
Je prépare mes fonds et mes mediums selon des formules anciennes..
Je prépare mes médiums selon une formule transmise par Frank Mason,
qui toute sa vie a cherché le secret des médiums de Rubens..
ma palette est celle du peintre américain impressioniste Frank Vincent Dumond
qui l’a transmise à mon professeur Frank Mason..
Mes études / sketchs / pochades, en plein air, sont fidèles aux couleurs des très beaux paysages de Washington County. NY. aux USA et aussi
à ceux du Poitou, en France..
Puis, dans l’atelier, j’improvise.. je change souvent la composition du tableau, pour en extraire un concept visuel, tout en conservant une
référence constante au réalisme. Mais surtout, je tends à abandonner détails et maniérismes susceptibles d’anéantir le concept initial.
Mon vrai but est d’obtenir les surfaces pouvant révéler en profondeur le travail du peintre et sa pensée.
SOLO EXHIBITIONS
McDaris Fine Art, Hudson, NY. 2013, 2015, 2017
Galerie Monica de Champfleury, Paris France. 2016
The Galleria Catskill, Catskill, NY. 2010
Southern Vermont Art Center, Manchester, VT. 2009, 2007
Atmosphere, 8250 Melrose Av, Los Angeles, CA. 2008
Bachelier-Kardonski Gallery, Kent, CT. 2007,2006
Gallery 668, Battenville, NY. 2006,2004, 2003, 2002
Paris-New York-Kent Gallery, Kent, CT. 2004, 2000
Small Gallery, Artisans Market, Cambridge, NY 2004
Randall Tuttle Fine Art, Woodbury, CT 1997
The Arsenal Gallery, Central Park, NYC, NY. 1994
Chiaroscuro Gallery, Chicago, IL 1991
The John Pence Gallery, San Francisco, CA 1984
The Gallery of the Southwest, Taos, NM. 1984
The Moulton Gallery, Fort Smith, AR 1984
The Harbor Gallery, Cold Spring Harbor, NY 1981
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