Chiles Aloft at Day's End Painting

I have been working on this series of paintings, called the Floaters, for more than 25 years. My method involves floating ordinary objects from nature in shrine-like spaces, made visible by a strong light. As the objects hover near walls, each other, or out into Nature, questions arise as to their resistance to gravity. This gives rise to a fundamental question: how else do we buoy up the heart? At the center of these architectural dramas, a simple framed landscapes pauses in the air. Is it a view, or a picture of one, floating alongside the flight of its whimsical brethren? Given the specificity of the floating objects and the space they occupy, the question of interior versus exterior inevitably comes to mind. Does the act of floating enhance or blur the distinction between these dimensions? My primary medium, acrylic, relies on glossy liquid mediums and thick gels to enhance its refractive quality. Combining a wide variety of glazes, layered textures and scrapings, I use brushes, silicon paint shapers and squeegees to assist in my long commitment to suspending disbelief. Chiles Aloft at Day's End was executed on the highest quality braced board with finished 1.5-inch finished sides. This piece is wired and ready to hang, with no framing required.