'; switch (pagenum) { case 1: switch (id) { case 1: str1="‘BASKING PEAFOWL’ 2000.
Watercolour on Rag-board, 11¾X5½ Inches.
(Available as an ‘art card).

"The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living things breathes no more, another heaven and another earth must pass before such a one can be again."
William Beebe (1877-1962)
American Naturalist and Explorer."; str2="

detail

click on image

"; str3='

'; break; case 2: str1="‘AMERICAN REDSTART’. 1998.
Watercolour on Rag-board, 15X7¼ Inches.

"Sweet is the breath of morn, her rising sweet with charm of earliest birds."

John Milton. (1608-1674).
English Poet."; str2="

detail

click on image

"; str3='

'; break; case 3: str1="‘NIGHT-LIGHT’(Lesser Black-Backed Gull) 1999.
Watercolour on Rag-board, 15X10 Inches.

"As a painting evolves through the sometimes chaotic process of completion, it is crucial that my original thoughts that inspire the most important element, the ‘idea’, no matter how subtle, be maintained in order to succeed. Here, I explore the phosphorescent quality of night-light.""; str2="

detail

click on image

"; str3='

'; break; case 4: str1="‘PURPLE-THROATED MOUNTAIN-GEM’ 1994.
Watercolour on Arches paper, 13¼X5½ Inches.

"Seeing vines like these in the understory of a Costa-Rican forest; Gave me the opportunity to utilize these natural rhythms, concentrate them in a tight composition and deal with the ultimate exercise in light and form. Sense of scale and context is established with the inclusion of one of my favourites.""; str2="

detail

click on image

"; str3='

'; break; case 5: str1="'SPRING!' 1994.
Watercolour on Arches paper, 13¼X5½ Inches.

"Seeing vines like these in the understory of a Costa-Rican forest; Gave me the opportunity to utilize these natural rhythms, concentrate them in a tight composition and deal with the ultimate exercise.""; str2="

detail

click on image

"; str3='

'; str4='

'; break; case 6: str1="‘STONECHAT’. 1998.
Alkyd on Rag Panel, 14½X8 Inches.

"Whenever you encounter birds or animals in the wild, there is always a certain distance they will allow you to approach before they move on. I found that sometimes when I’m out traipsing around, I don’t notice the little creature until it’s too late. I find myself within that ‘safe’ limit only for a moment, when they allow me a brief look before disappearing. These tense split second encounters have been an inspiration for a number of my paintings, including this one."
"; str2="

detail

click on image

"; str3='

'; break; case 7: str1="‘STORM-WATCH’. (Marsh Wren). 2002.
Watercolour and Acrylic on Rag-board, 21X7½ Inches.

"As an impending storm threatens to extinguish the last glow of light, the marsh wrens' curiosity gets the better of him.""; str2="

detail

click on image

"; str3='

'; break; case 8: str1="'YELLOW WARBLER'. 1998.
Watercolour on Arches paper, 11½X5 ¼ Inches.

"The fewer design elements incorporated, the more critical each one becomes.""; str2="

detail

click on image

"; str3='

'; break; case 9: str1="‘WESTERN SANDPIPER STUDY’. 2001.
Watercolour on Arches paper,
11 5/8X7½ inches.

"When observing birds through a scope, one tends to get ‘up close and personal’, a kind of intimacy develops, you notice subtleties that would otherwise be overlooked. Here, the relationship between bursting bubbles and a sleep deprived sandpiper wasn’t going well!""; str2="

detail

click on image

"; str3='

'; break; case 10: str1="‘SAW-WHET OWL’ 2000.
Watercolour on rag board,
15 X 7 Inches.

"Wanting to create a flowing rhythm in this ‘breezy’ moon-lit sky... I felt the eyes of the Saw-whet could easily be overlooked!""; str2="

detail

click on image

"; str3='

'; break; case 11: str1="‘DEMOISELLE CRANE II’ 2003.
Watercolour on rag board.
18X8½ inches.

"This is the second version of a similar painting dealing with captive breeding of endangered species. Here though, I approach it more as a study of light and shadow, specifically the area between, known as the ‘penumbra’.""; str2="

detail

click on image

"; str3='

'; break; case 12: str1="‘STUDY FOR WILLOW FLYCATCHER’ 2006.
Watercolour on Arches paper,
20 ˝ X 6 ˝ Inches.

"The spontaneity of this piece, led me to conclude that it was a study. Now I believe there is nothing I can change or add that will make it more than what it is. It can stand on its own.""; str2="

detail

click on image

"; str3='

'; break; case 13: str1="‘BARN SWALLOW FLEDGLING’ 2005.
Watercolour and Acrylic on rag board,
18 X 9 Ľ Inches.

"Prompted by the adult, a New World awaits this young Barn Swallow, as he pauses to reflect on the old.""; str2="

detail

click on image

"; str3='

'; break; case 14: str1="‘NOCTURNE’ (Greater Flamingo) 2006.
Acrylic on Rag-board,
35 Ľ X 24 Inches.

"I am more concerned with imagery than truth. With that in mind, Nocturne verges on the surreal.""; break; case 15: str1="‘STUDY FOR DUNLIN’ 2006.
Watercolour on Rag-board,
12 X 8 ˝ Inches.

"This is about establishing position or gesture, arrangement and perspective for the final piece.""; break; case 16: str1="‘WHO’ (Great Horned Owl) 2007.
Alkyd on Rag-board,
15 Ľ X 7 Ľ Inches."; str2="

detail

click on image

"; str3='

'; break; default: str1="
‘BLACKBURNIAN WARBLER & WILLOWS’ 2003.
Watercolour on Rag-board, 14 X 6 ˝ Inches.

"; str2="

detail

click on image

"; str3='

'; break; } break; case 2: switch (id) { case 1: str1="‘BLUE-GRAY GNATCATCHER’. 1998.
Watercolour on Rag-board, 4X12¼ Inches.

"There’s some pent-up energy in that half-taut vine. Metaphorically speaking, it delineates the behavior exhibited by this high-strung member of the Old World warbler family."
"; str2="

detail

click on image

"; str3='

'; break; case 2: str1="

‘LIGHT-WAVES’(Magellan Goose) 1995.\nWatercolour on Rag-board, 12X19 Inches.\n\n"By using light to enhance the soothing wave-like patterns on the surface, I have attempted to instill a calming effect in the viewer. Light is also being used as a conduit or projection of inner peace spilling from the subject itself. I am after a subconscious reaction - a connection or relatedness between the viewer and the subject, based on how we respond to patterns."

"; str2="

detail

click on image

"; str3='

'; str4='

'; break; case 3: str1="‘Lucidity’ (Short-billed dowitcher) 2005.
Watercolour on rag board, 10½X20¾ Inches.

"In ‘Lucidity’, I used a central form as a ‘tool’ or gage for measuring light and clarity."
"; str2="

detail

click on image

"; str3='

'; break; case 4: str1="‘Warm Front’ (Greater Flamingo) 2005.
Acrylic on Rag board, 21 ˝ X 30 Inches.

"Almost every aspect of this piece has been pushed to the limit in order to achieve a certain kind of flamboyance. The title, however, suggests something more subtle - the warmth and the ocean breeze. ‘Warm Front’ takes me there."
"; str2="

detail

click on image

"; str3='

'; break; case 5: str1="‘Flotilla’ (Polish Mutes) 2006.
Watercolour on rag board, 19 X 30 ˝ Inches.
* This piece is currently available

"As you ‘read’ the mist, a narrative sets up…and the moment almost passes."
"; str2="

detail

click on image

"; str3='

'; break; case 6: str1="‘STUDY FOR SUMMER WILLET’ 2006.
Acrylic on Rag-board, 10 ˝ X 22 ˝ Inches.

"Study for Summer Willet' is simply about colour, balance and perspective. How far can I push those elements and still achieve a solid foundation upon which I can build the final piece?"
"; str2="

detail

click on image

"; str3='

'; break; case 7: str1="‘ANDEAN GOOSE SKETCH’ 2002.
Watercolour on Arches paper, 11 ˝ X 12 Ľ Inches.

"The essence of a thing attained early on is rare for me""; str2="

detail

click on image

"; str3='

'; break; case 8: str1="‘JACKSON HOLE’ 2007.
Watercolour on Rag-board, 6 ľ X 14 ˝ Inches.

"I go to Nature to be soothed and healed, and to have my senses put in tune once more."

John Burroughs (1837-1921)
American Naturalist and Writer.
"; break; case 9: str1="‘AIR WAVE’ (Brown Pelican) 2006.
Acrylic on Rag-board, 9 ľ X 27 ľ Inches.

"After spending some lazy afternoons in Tortola observing Brown pelicans, it occurred to me that the waves were actually scooping warm air and the birds were in fact surfing on thermals."
"; str2="

detail

click on image

"; str3='

'; break; case 10: str1="‘MOON LIGHTS’ (Least & Royal Terns) 2008.
Acrylic on Rag-board, 6 ˝ X 15 ľ Inches.

"Far from its original conception. This painting took on a life of its own and over time, evolved from a windblown, sun baked spit of sand, into an evening filled with ‘Moon Lights’ and wave-lets.""; str2="

detail

click on image

"; str3='

'; break; case 11: str1="‘STUDY FOR SIGNS OF SPRING’ (Barn Owl) 2009.
Acrylic on Rag-board, 7 ˝ X 14 Inches.

"When ‘reading’ the piece... we’re led into the stillness.""; str2="

detail

click on image

"; str3='

'; break; default: str1="‘STUDY FOR A FLYCATCHER’ 2009.
Watercolour on Rag-board, 6 ˝ X 20 ľ Inches.

"Here, I’ve used gravity on a branch as a ‘tool’ to create some tension in the piece. Hoping to instill a sense of un-ease that one ‘feels’ when you see the moth.""; str2="

detail

click on image

"; str3='

'; break; } break; default: switch (id) { case 1: str1="'ANDEAN GOOSE'. 2002.
Watercolour and Acrylic on Rag-board, 9½X9 Inches.

"This is what I would refer to as a mixed media study. Here, I explore qualities of light and shadow that I don't believe could be attained using only watercolour or acrylic."
"; str2="

detail

click on image

"; str3='

'; break; case 2: str1="

‘DOWITCHER’. 2002.\nWatercolour on Rag-board. 15X15½ Inches.\n\n"It was early September, a red bright day of Indian summer sun and stillness, and the beach bird stood immobile for a time, observing the turtles and a muskrat, two black ducks and a green heron, as if certain of its central place in a strange and beautiful universe."\n\nPeter Matthiessen, B. 1927 ;\nAmerican Naturalist and writer.

"; str2="

detail

click on image

"; str3='

'; break; case 3: str1="

'LONG-BILLED CURLEW' 1998.\nWatercolour on Rag-board, 15½X15 Inches.\n\n"Originally conceived as a moonlit scene, the idea was to have the viewer travel through the piece, stopping at strategically positioned 'bright spots' and high contrast areas before ultimately stumbling on the curlew.Quite often that is the only time we see birds on a beach at night, when they move because we get too close. Unfortunately, my early attempts did not live up to my expectations, but the composition and original  concept was worth pursuing, presenting me with the opportunity to introduce other elements: for example, a menacing foreground shadow and disruption or chaos in the patterns of sand, creating an irritation in an otherwise serene setting. This introduction is unsettling,, an uninvited 'presence' is established and reason enough for the curlew to consider moving on."

"; str2="

detail

click on image

"; str3='

'; str4='

'; break; case 4: str1="‘PLOVER SKETCHES’.
Watercolour on Arches paper, 9X11 Inches.

"Trying to capture fleeting moments in the field can prove to be most challenging and becomes an exercise in recognizing essential elements quickly.""; break; case 5: str1="‘RING-BILLED GULLS’. 2001.
Watercolour on Rag-board, 15X15 Inches.

"While working on this painting, Ring-Billed Gulls took me to this place; I felt the sun and ocean breeze. It provided some relief and brightened a winter that seemed would never end.""; break; case 6: str1="
‘STORKS ON A RIDGE STUDY’. 1994.
Watercolour on Arches paper, 12X9 Inches.

"Their large dark silhouettes stood against an evening sky. Primeval imagery that dwelled in my thoughts for some time, before I eventually made a painting of it. (Based on this study).""; break; case 7: str1="
‘TIDE-POOL’ (Long-Billed Dowitcher) 1998.
Watercolour on Rag-board, 13½X12½ Inches.

"This is a bird I have become quite familiar with and look forward to seeing each spring at the Hillman Marsh near Point Pelee."
"; str2="

detail

click on image

"; str3='

'; break; case 8: str1="
‘WILD GEESE IN BLUE-EYED GRASS’. 2001.
Watercolour on Rag-board, 10¼X10 Inches.

"I made this painting in memory of a field I used to pass, now littered with condominiums."
"; str2="

detail

click on image

"; str3='

'; str4='

'; break; case 9: str1="

‘SARUS CRANE’ 2003.\nAlkyd on Rag-board, 11½X11 Inches.\n* This piece is currently available\n\n"Although watercolour remains my preferred medium, I’ve begun to experiment with others. This painting of a ‘Sarus Crane’, stretching in the last fleeting moments of sunlight, proved to be quite a challenge. As the piece evolved over a three year period, it almost seemed to develop a life of it’s own as I explored every nuance of light, form, color and of course, the medium"

"; str2="

detail

click on image

"; str3='

'; break; case 10: str1="
‘YELLOWLEGS’ 2003.
Watercolour on Rag-board, 21X20 Inches.

"Inspired from a visit to the ‘Pea Island National Wildlife Refuge’ on Cape Hatteras, N.C. This is essentially a painting about ‘colour’, the Sandpiper provides a sense of place."
"; str2="

detail

click on image

"; str3='

'; break; case 11: str1="
‘OUT OF THE BLUE’ (Common Tern) 2008/09.
Watercolour & Acrylic on Rag-board, 22 X 24 ˝ Inches.

"With only two points of reference... it becomes more about the space in between."
"; str2="

detail

click on image

"; str3='

'; break; default: str1="‘JACKSON LAKE / TRUMPETERS’ 2009.
Acrylic on Rag-board,
10 Ľ X 11 Inches.
* This piece is currently available."; str2="

detail

click on image

"; str3='

'; break; } break; } if (document.layers && document.layers["detailbutton"]) { // Netscape document.layers["whatever"].innerHTML=str1; document.layers["detailbutton"].innerHTML=str2; document.layers["GalleryDetail"].innerHTML=str3; document.layers["GalleryDetai2"].innerHTML=str4; } else { document.getElementById("whatever").innerHTML=str1; document.getElementById("detailbutton").innerHTML=str2; document.getElementById("GalleryDetail").innerHTML=str3; document.getElementById("GalleryDetai2").innerHTML=str4; } } function changeImg(id) { resetColor(); document.images["DetailIndex"].src = _imgs[id].src; str="cell"+id; document.getElementById(str).style.backgroundColor = "DFD8D5"; } function changeMainImg(id, pagenum) { str4="picNum"; window.parent.document.getElementById(str4).innerHTML = id; document.images["MainImg"].src = eval("mainimgs"+id+".src"); changeInfo(id, pagenum); } function resetColor() { for (i=1; i<=max; i++) { str="cell"+i; document.getElementById(str).style.backgroundColor = "947D73"; } } function changeNum(id){ str="picNum"; window.parent.document.getElementById(str).innerHTML=id; } function showDetail(pageNum, detailLocal, detailNum) { detailurl = "detail_"+pageNum+detailLocal+".html"; window.open(detailurl, "_self", "scroll=no"); str1="pageNum"; window.parent.document.getElementById(str1).innerHTML = pageNum; str2="detailLocal"; window.parent.document.getElementById(str2).innerHTML = detailLocal; str3="detailNum"; window.parent.document.getElementById(str3).innerHTML = detailNum; } function MM_reloadPage(init) { //For layer if (init==true) with (navigator) {if ((appName=="Netscape")&&(parseInt(appVersion)==4)) { document.MM_pgW=innerWidth; document.MM_pgH=innerHeight; onresize=MM_reloadPage; }} else if (innerWidth!=document.MM_pgW || innerHeight!=document.MM_pgH) location.reload(); } MM_reloadPage(true); function changeInfoStr(id, pagenum) { str2=""; str3=""; str4='

'; switch (pagenum) { case 1: switch (id) { case "1": str1="‘BASKING PEAFOWL’ 2000.
Watercolour on Rag-board, 11¾X5½ Inches.
(Available as an ‘art card).

"The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living things breathes no more, another heaven and another earth must pass before such a one can be again."
William Beebe (1877-1962)
American Naturalist and Explorer."; str2="

detail

click on image

"; str3='

'; break; case "2": str1="‘AMERICAN REDSTART’. 1998.
Watercolour on Rag-board, 15X7¼ Inches.

"Sweet is the breath of morn, her rising sweet with charm of earliest birds."

John Milton. (1608-1674).
English Poet."; str2="

detail

click on image

"; str3='

'; break; case "3": str1="‘NIGHT-LIGHT’(Lesser Black-Backed Gull) 1999.
Watercolour on Rag-board, 15X10 Inches.

"As a painting evolves through the sometimes chaotic process of completion, it is crucial that my original thoughts that inspire the most important element, the ‘idea’, no matter how subtle, be maintained in order to succeed. Here, I explore the phosphorescent quality of night-light.""; str2="

detail

click on image

"; str3='

'; break; case "4": str1="‘PURPLE-THROATED MOUNTAIN-GEM’ 1994.
Watercolour on Arches paper, 13¼X5½ Inches.

"Seeing vines like these in the understory of a Costa-Rican forest; Gave me the opportunity to utilize these natural rhythms, concentrate them in a tight composition and deal with the ultimate exercise in light and form. Sense of scale and context is established with the inclusion of one of my favourites.""; str2="

detail

click on image

"; str3='

'; break; case "5": str1="'SPRING!' 1994.
Watercolour on Arches paper, 13¼X5½ Inches.

"Seeing vines like these in the understory of a Costa-Rican forest; Gave me the opportunity to utilize these natural rhythms, concentrate them in a tight composition and deal with the ultimate exercise.""; str2="

detail

click on image

"; str3='

'; str4='

'; break; case "6": str1="‘STONECHAT’. 1998.
Alkyd on Rag Panel, 14½X8 Inches.

"Whenever you encounter birds or animals in the wild, there is always a certain distance they will allow you to approach before they move on. I found that sometimes when I’m out traipsing around, I don’t notice the little creature until it’s too late. I find myself within that ‘safe’ limit only for a moment, when they allow me a brief look before disappearing. These tense split second encounters have been an inspiration for a number of my paintings, including this one."
"; str2="

detail

click on image

"; str3='

'; break; case "7": str1="‘STORM-WATCH’. (Marsh Wren). 2002.
Watercolour and Acrylic on Rag-board, 21X7½ Inches.

"As an impending storm threatens to extinguish the last glow of light, the marsh wrens' curiosity gets the better of him.""; str2="

detail

click on image

"; str3='

'; break; case "8": str1="'YELLOW WARBLER'. 1998.
Watercolour on Arches paper, 11½X5 ¼ Inches.

"The fewer design elements incorporated, the more critical each one becomes.""; str2="

detail

click on image

"; str3='

'; break; case "9": str1="‘WESTERN SANDPIPER STUDY’. 2001.
Watercolour on Arches paper,
11 5/8X7½ inches.

"When observing birds through a scope, one tends to get ‘up close and personal’, a kind of intimacy develops, you notice subtleties that would otherwise be overlooked. Here, the relationship between bursting bubbles and a sleep deprived sandpiper wasn’t going well!""; str2="

detail

click on image

"; str3='

'; break; case "10": str1="‘SAW-WHET OWL’ 2000.
Watercolour on rag board,
15 X 7 Inches.

"Wanting to create a flowing rhythm in this ‘breezy’ moon-lit sky... I felt the eyes of the Saw-whet could easily be overlooked!""; str2="

detail

click on image

"; str3='

'; break; case "11": str1="‘DEMOISELLE CRANE II’ 2003.
Watercolour on rag board.
18X8½ inches.

"This is the second version of a similar painting dealing with captive breeding of endangered species. Here though, I approach it more as a study of light and shadow, specifically the area between, known as the ‘penumbra’.""; str2="

detail

click on image

"; str3='

'; break; case "12": str1="‘STUDY FOR WILLOW FLYCATCHER’ 2006.
Watercolour on Arches paper,
20 ˝ X 6 ˝ Inches.

"The spontaneity of this piece, led me to conclude that it was a study. Now I believe there is nothing I can change or add that will make it more than what it is. It can stand on its own.""; str2="

detail

click on image

"; str3='

'; break; case "13": str1="‘BARN SWALLOW FLEDGLING’ 2005.
Watercolour and Acrylic on rag board,
18 X 9 Ľ Inches.

"Prompted by the adult, a New World awaits this young Barn Swallow, as he pauses to reflect on the old.""; str2="

detail

click on image

"; str3='

'; break; case "14": str1="‘NOCTURNE’ (Greater Flamingo) 2006.
Acrylic on Rag-board,
35 Ľ X 24 Inches.

"I am more concerned with imagery than truth. With that in mind, Nocturne verges on the surreal.""; break; case "15": str1="‘STUDY FOR DUNLIN’ 2006.
Watercolour on Rag-board,
12 X 8 ˝ Inches.

"This is about establishing position or gesture, arrangement and perspective for the final piece.""; break; case "16": str1="‘WHO’ (Great Horned Owl) 2007.
Alkyd on Rag-board,
15 Ľ X 7 Ľ Inches."; str2="

detail

click on image

"; str3='

'; break; default: str1="
‘BLACKBURNIAN WARBLER & WILLOWS’ 2003.
Watercolour on Rag-board, 14 X 6 ˝ Inches.

"; str2="

detail

click on image

"; str3='

'; } break; case 2: switch (id) { case "1": str1="‘BLUE-GRAY GNATCATCHER’. 1998.
Watercolour on Rag-board, 4X12¼ Inches.

"There’s some pent-up energy in that half-taut vine. Metaphorically speaking, it delineates the behavior exhibited by this high-strung member of the Old World warbler family."
"; str2="

detail

click on image

"; str3='

'; break; case "2": str1="

‘LIGHT-WAVES’(Magellan Goose) 1995.\nWatercolour on Rag-board, 12X19 Inches.\n\n"By using light to enhance the soothing wave-like patterns on the surface, I have attempted to instill a calming effect in the viewer. Light is also being used as a conduit or projection of inner peace spilling from the subject itself. I am after a subconscious reaction - a connection or relatedness between the viewer and the subject, based on how we respond to patterns."

"; str2="

detail

click on image

"; str3='

'; str4='

'; break; case "3": str1="‘Lucidity’ (Short-billed dowitcher) 2005.
Watercolour on rag board, 10½X20¾ Inches.

"In ‘Lucidity’, I used a central form as a ‘tool’ or gage for measuring light and clarity."
"; str2="

detail

click on image

"; str3='

'; break; case "4": str1="‘Warm Front’ (Greater Flamingo) 2005.
Acrylic on Rag board, 21 ˝ X 30 Inches.

"Almost every aspect of this piece has been pushed to the limit in order to achieve a certain kind of flamboyance. The title, however, suggests something more subtle - the warmth and the ocean breeze. ‘Warm Front’ takes me there."
"; str2="

detail

click on image

"; str3='

'; break; case "5": str1="‘Flotilla’ (Polish Mutes) 2006.
Watercolour on rag board, 19 X 30 ˝ Inches.
* This piece is currently available

"As you ‘read’ the mist, a narrative sets up…and the moment almost passes."
"; str2="

detail

click on image

"; str3='

'; break; case "6": str1="‘STUDY FOR SUMMER WILLET’ 2006.
Acrylic on Rag-board, 10 ˝ X 22 ˝ Inches.

"Study for Summer Willet' is simply about colour, balance and perspective. How far can I push those elements and still achieve a solid foundation upon which I can build the final piece?"
"; str2="

detail

click on image

"; str3='

'; break; case "7": str1="‘ANDEAN GOOSE SKETCH’ 2002.
Watercolour on Arches paper, 11 ˝ X 12 Ľ Inches.

"The essence of a thing attained early on is rare for me""; str2="

detail

click on image

"; str3='

'; break; case "8": str1="‘JACKSON HOLE’ 2007.
Watercolour on Rag-board, 6 ľ X 14 ˝ Inches.

"I go to Nature to be soothed and healed, and to have my senses put in tune once more."

John Burroughs (1837-1921)
American Naturalist and Writer.
"; break; case "9": str1="‘AIR WAVE’ (Brown Pelican) 2006.
Acrylic on Rag-board, 9 ľ X 27 ľ Inches.

"After spending some lazy afternoons in Tortola observing Brown pelicans, it occurred to me that the waves were actually scooping warm air and the birds were in fact surfing on thermals."
"; str2="

detail

click on image

"; str3='

'; break; case "10": str1="‘MOON LIGHTS’ (Least & Royal Terns) 2008.
Acrylic on Rag-board, 6 ˝ X 15 ľ Inches.

"Far from its original conception. This painting took on a life of its own and over time, evolved from a windblown, sun baked spit of sand, into an evening filled with ‘Moon Lights’ and wave-lets.""; str2="

detail

click on image

"; str3='

'; break; case "11": str1="‘STUDY FOR SIGNS OF SPRING’ (Barn Owl) 2009.
Acrylic on Rag-board, 7 ˝ X 14 Inches.

"When ‘reading’ the piece... we’re led into the stillness.""; str2="

detail

click on image

"; str3='

detail

click on image

"; str3='

'; break; } break; default: switch (id) { case "1": str1="'ANDEAN GOOSE'. 2002.
Watercolour and Acrylic on Rag-board, 9½X9 Inches.

"This is what I would refer to as a mixed media study. Here, I explore qualities of light and shadow that I don't believe could be attained using only watercolour or acrylic."
"; str2="

detail

click on image

"; str3='

'; break; case "2": str1="

‘DOWITCHER’. 2002.\nWatercolour on Rag-board. 15X15½ Inches.\n\n"It was early September, a red bright day of Indian summer sun and stillness, and the beach bird stood immobile for a time, observing the turtles and a muskrat, two black ducks and a green heron, as if certain of its central place in a strange and beautiful universe."\n\nPeter Matthiessen, B. 1927 ;\nAmerican Naturalist and writer.

"; str2="

detail

click on image

"; str3='

'; break; case "3": str1="

'LONG-BILLED CURLEW' 1998.\nWatercolour on Rag-board, 15½X15 Inches.\n\n"Originally conceived as a moonlit scene, the idea was to have the viewer travel through the piece, stopping at strategically positioned 'bright spots' and high contrast areas before ultimately stumbling on the curlew.Quite often that is the only time we see birds on a beach at night, when they move because we get too close. Unfortunately, my early attempts did not live up to my expectations, but the composition and original  concept was worth pursuing, presenting me with the opportunity to introduce other elements: for example, a menacing foreground shadow and disruption or chaos in the patterns of sand, creating an irritation in an otherwise serene setting. This introduction is unsettling,, an uninvited 'presence' is established and reason enough for the curlew to consider moving on."

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'; break; case "4": str1="‘PLOVER SKETCHES’.
Watercolour on Arches paper, 9X11 Inches.

"Trying to capture fleeting moments in the field can prove to be most challenging and becomes an exercise in recognizing essential elements quickly.""; break; case "5": str1="‘RING-BILLED GULLS’. 2001.
Watercolour on Rag-board, 15X15 Inches.

"While working on this painting, Ring-Billed Gulls took me to this place; I felt the sun and ocean breeze. It provided some relief and brightened a winter that seemed would never end.""; break; case "6": str1="
‘STORKS ON A RIDGE STUDY’. 1994.
Watercolour on Arches paper, 12X9 Inches.

"Their large dark silhouettes stood against an evening sky. Primeval imagery that dwelled in my thoughts for some time, before I eventually made a painting of it. (Based on this study).""; break; case "7": str1="
‘TIDE-POOL’ (Long-Billed Dowitcher) 1998.
Watercolour on Rag-board, 13½X12½ Inches.

"This is a bird I have become quite familiar with and look forward to seeing each spring at the Hillman Marsh near Point Pelee."
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‘WILD GEESE IN BLUE-EYED GRASS’. 2001.
Watercolour on Rag-board, 10¼X10 Inches.

"I made this painting in memory of a field I used to pass, now littered with condominiums."
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‘SARUS CRANE’ 2003.\nAlkyd on Rag-board, 11½X11 Inches.\n* This piece is currently available\n\n"Although watercolour remains my preferred medium, I’ve begun to experiment with others. This painting of a ‘Sarus Crane’, stretching in the last fleeting moments of sunlight, proved to be quite a challenge. As the piece evolved over a three year period, it almost seemed to develop a life of it’s own as I explored every nuance of light, form, color and of course, the medium"

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‘YELLOWLEGS’ 2003.
Watercolour on Rag-board, 21X20 Inches.

"Inspired from a visit to the ‘Pea Island National Wildlife Refuge’ on Cape Hatteras, N.C. This is essentially a painting about ‘colour’, the Sandpiper provides a sense of place."
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‘OUT OF THE BLUE’ (Common Tern) 2008/09.
Watercolour & Acrylic on Rag-board, 22 X 24 ˝ Inches.

"With only two points of reference... it becomes more about the space in between."
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'; break; default: str1="‘JACKSON LAKE / TRUMPETERS’ 2009.
Acrylic on Rag-board,
10 Ľ X 11 Inches.
* This piece is currently available."; str2="

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