Drawings
Just before I turned fully toward the landscape paintings, I spent several years immersed in still-life drawing. Using Prismacolor colored pencils—initially combined with graphite and sometimes dissolved with lighter fluid to intensify the pigment—I produced nearly two hundred works in this medium.
What began simply, with a few reds and a handful of apples, quickly became an obsession. The pencils offered a range of color and depth that let me build form, light, and atmosphere in a way that felt painterly, even though I was working on paper. Layer by layer, the drawings grew richer, darker, and more complex, and so did my understanding of how color behaves in space.
These drawings became a kind of laboratory. They taught me how to control hue, value, and saturation—how to make light sit on a surface, how to push something forward or let it fall back. Much of what later appeared in my landscape paintings was worked out here first, quietly, one object at a time.
This archive offers a glimpse into that transitional period: a body of work that stands on its own, but also points directly toward the landscapes that followed.
