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Lavender Tangle, oil/linen,48x48
Quiescence, oil/linen, 60x72
Dawning, oil/linen, 60x72
Genesis, oil/linen, 72x72
Extinguished, oil/linen, 72x72
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An excerpt from "Landscape Love Affair"
PETER FIORE
Westfall, Pennsylvania
"I'm not a traditional landscape painter. The armature for my paint is a representation of a landscape, but all of it is a metaphor for humanity. Trees are a stand in for universal life on this planet. They can express sorrow, joy, and vulnerability, as well as majesty. The landscape allows me to paint somewhat more abstractly while maintaining a representational image.
"I look for the potential of drama to be played out with the introduction of light, whether by nature or me. The paintings I've been working on for the last five years have been more focused on a narrative that I've placed at the forefront of my thinking, so when I go out to look for a landscape, I already have something specific in mind. When I go out looking for a motif, it's already conceptualized. I know what I need.
"I'm not interested in painting a literal representation of what is before me. If I'm painting exactly what I see, that is just copying a scene. My goal as an artist is to interpret the scene, or interpret the emotion of what I'm feeling, and craft that so that I create a painting that has content, or strikes an emotional chord that I want to convey. I re-orhcestrate the elements to create a better design for my purposes.
"As I am mostly a winter painter, one of the greatest challenges of photographing at sunrise in winter are the physical conditions. To capture a sunrise, I need to be in place at least an hour prior to the sunrise: that way I can get my composition set and prepare for that moment which is extremely feting, if it materializes at all.
"The benefits of photographing / researching outside are that I get to study nature in the field and then bring that all back to my studio, and that's where the process starts. I'm a studio painter, which enables me to create and take from nature what I need, but allows me to go deeper into the process of painting. My paintings are often very large and the surface is a built-up surface, meaning there is an under-painting and then the process of weaving color and building visual textures, as well as a physicality of paint. Part of the painting process is allowing a painting to dry, so I can go back and glaze, abrade, and modify the source to achieve a richness that I could never achieve on location."
By Vicki Stavig
Art of the West, May/June 2016
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This article courtesy of Art of the West.
Art of the West
May/June 2016
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