Lower Colorado

As with many of my paintings, this began as a casual observation. I was in an airport waiting area and glanced at a series of geographical photographs of the Southern California area, particularly the Colorado River. One caught my eye and I began to sketch it as an aerial view. Back in the studio I did a series of larger, looser sketches in pen and pencil, overlaying tissue layers with "corrections". Actually, "adjustments". From there, the painting evolved.

I liked the serpentine curve of the river as it cut through the hills, and developed a palette that highlighted the coolness of the water against the warmth of the land at dusk. There is a subtle repeat of the "s-curve" of the river in the highlights and shadows of the hills.

The inverted apostrophe (or "yang shape") that forms the highlight of the isthmus in the center is totally unintentional, but maybe subliminal. I have spent a great deal of time in graphic arts studying typography, always fascinated by the loops and whorls of letter forms. As I look back, many aspects of my training and experience are surfacing in my recent paintings: strong graphic shapes, bold, delineated colors, and here, with Lower Colorado, typographic elements as well, with the "S" and "apostrophe" references.

One note: the title carries a minor coincidence. I had originally titled Lower Colorado while sketching, and a few weeks later I saw a show in Southern California of Richard Diebenkorn's Ocean Park series. Lo and behold, one of his early paintings was titled the Lower Colorado. Diebenkorn has always been a favorite, this is my homage.