Siren's Garden, 20x20 Available at Kelsey Michaels Fine Art, Laguna Beach, CA
The Calm, 36x36
After He Tilted the Sky, 24x24
In a Silken Sea, 30x30
The Journey Begins, 16x16
Morning Reef, 20x20 Available at Kelsey Michaels Fine Art, Laguna Beach, CA
Morning Reef, Presentation
Ocean Floor, 24x24
Awakening Davy, 24x24
Once Again in the Pacific, 24x24
Turn Left, 24x24 Available at Kelsey Michaels Fine Art, Laguna Beach, CA
The Parade, 10x10
Sea Prairie, 10x10
On the Reef, 10x10
Low Tide, 36x36
Morning Run, 30x30
MidDay, 36x36
Autumn on the Reef, 18x18
Approaching the Temple, 18x18
In the Shallows, 12x12
Pacific Afternoon, 12x12, sold
Remembering When, 12x12
Rewards, 18x18
Guides to the Deep, 24x24
Flint's Treasure, 24x24, sold
Final Rest, 24x24
Shangrila, 30x30, Sold
The Approach, 30x30, Sold
Therein Sanctuary, 14x14
Rebirth, 10x10
Where She Waits, 10x10
Tidepool, 6x6
Sea Life, 6x6
With the Current, 6x6
High Tide, 24x24
The Rising, 6x6
Summer, Again, 10x10
Under the Party Boat, 10x10
flow1.0, 30x30
For All It's Worth, 6x6
yang, 24x24
time4.0, 14x14, sold
tomorrow, 6x6
dwell, 6x6
2amattheNoNameBar, 10x10
bohemian rapsody, 12x12
Pequod Beneath, 14x14, sold
essence of firebreather, 24x24
idea1.2, 6x6
flow2.2, 6x6
The Emperor's Pond, 12x12
idea1.1, 12x12
Once in a Blue Moon, 14x14
Shown are several works from the flow series, all of acrylic with pouring medium and all on cradled board.
Extensive use of pouring medium separates out the pigment particles and creates luminosity and a resinous sheen - and interference paint and metallics create art that changes with light and the viewer's movement.
I do two types of pour paintings. I started with motion-based abstractions of Liquitex Pouring Medium mixed with paint onto cradled board, and gradually began doing underwater scenes. These often become more and more layered, but always have the luminous bounce of light as if off of flowing metal and gems that underscore my message: Our oceans are more precious than gold or pearls.
The types of work feed off of each other. I’m drawn to create the more literal ocean scenes, which down the line leads me back to pure abstraction. They are my Yin and Yang.