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The shadows can blue or purple to create a world not quite like the ones we live in, but perhaps better, or worse, or more colorful. Emotion can be show or heightened by a new use of color.
In working forms I try to show the abstract side of solid objects and to give illusive shapes strict outines and direction. When I look at the ocean am I seeing the backs of whales, wet suited divers,
or a mermaid - or is it all just blueberry syrup roiling and twisting to the pull of the the tides? I try to give tree trucks a larger context. For instance is that eucalyptus grove a crowd of dancing women?
The way paint is put on the canvas can also affect ones work. People do respect hard work in a painting. The work represented by tiny delicate brush stokes covering a large
surface effects how people view the resulting painting. The broad, slashing strokes of passion affect the viewer as much as the color of the work. A work done entirely in
horizontal slashes of paint is viewed from a different emotional context.
There is no light without darkness. If light is muted in a painting then shadow has no background to play against. The sun cannot shine brightly without resulting dark shadows.
Above all if you want people to see what you paint you must have light and darness for it to be perceived. This results in the obvious corollary that soft contrast will
deliver the artist's message delicately. I mute my color and contrast to deliver softer messages to the viewer. I feel that strong and vibrant colors are necessary to give painting life and vigor.
For me, recognizable content is a necessary part of my painting. The acid test of worth and value in a painting is how people relate to it,
know what it represents, and hopefully value it. Without that it is just paint of canvas. | 
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