It was not possible to go to Nova Scotia this year. These are paintings of marshes, waterways, and harbors from other recent years.

These are assorted Maryland landscapes from this summer and last, along with several summery still lifes.

I wanted to paint these landscapes in a different way, not so much with a brush, but with scraps of card board, rags and palette knives. I liked being able to wipe thick colors over the surface and scrape or scratch it to suggest details like trunks and foliage and sticking-up blades of grass. 

In many of the Nova Scotia paintings I did this summer, I continued to work with a piece of cardbord to make the most of the rougher texture on the linen panels. I enjoyed the way the fabric's tooth broke up the painted surface, and I ended up letting this effect be as interesting as any representational detail that was needed to suggest an image. My paintings on regular stretched canvas look quite different.

These monotypes were an experiment using at least 2 plates and masking out areas of the first plate, printing it, then printing a second plate on top of it. In the masked areas the pure colors on the second plate to show up while in other areas the overlapping colors create a whole new color. The second plate can be masked as well--that is, kept free of ink in selected areas. This way when it is printed on top of the print made by the first plate, the colors in those masked areas pick up the original pure colors from the first plate.

In the late summer, I paint along the southwest coast of Nova Scotia. The air can be cool and vaporous when rain or fog are on the way, while at other times, above and below  you see the bluest of blues.