“Dodge Gasoline Truck”, 1999, (blue, 3/4 view), 20” x 30” Watercolor
This gas truck was painted on location in the Virginia Truckee Railroad yard. It was my first truck painting and I chose to show it in the landscape.
Collection of Russell Zinnerman
“Truck Grouping”, 2005, 14”x21”
This grouping of trucks really seems to capture a place in time. It evokes the hot days of summer with much stillness in the air except for maybe the buzzing of small winged creatures.
“Studebaker Champ 1962”, 2000, (orange), 21”x14” Watercolor
This is a close-up of a Studebaker’s front end. The blue toned chrome complements the orange body. I enjoyed the play of geometric shapes. The modernism of the early 60s pops out.
“Dennis’s Citroen” 2002, 21” x 14” watercolor.
Donna Caville commissioned this painting for her husband Dennis. I decided to do a montage of this most loved car.
“Blue Panel”, 2002, (side view), 14” x 21”
Time has created an abstract painting on the surface of an old truck. You can still detect the clues to the identity of the subject. While in art school I studied non- objective painting. This painting is the most abstract of all my realist paintings. Collection of Jake Thomas
“Chevrolet Side Panel”, 2000, 14” x 21” Watercolor
This view gives just enough information to the viewer to be recognizable as a trunk. The surface is wonderfully textured. It remains me of the brush strokes of an abstract painting. This trunk’s location was in the Nevada desert. Collection of Jan Johnson
“Chevy Headlamp”, 2003, (3/4 view), 28”x36”
The largest of my watercolors, this was a great junkyard find. While painting the truck, I found the fender to be particularly voluptuous. The timeless design and rich texture of the truck components are pleasing.
“Free to Go” , (screen door), 14” X 21”, Watercolor from the Household Crime Series
“Yellow GMC Truck” front, 2002, 14” x 21”
I really enjoyed painting this piece because the paint seemed to flow effortlessly from my brush. This is difficult to explain, but it felt like a divine hand was doing all of the work. I think I got the tension between the apparent realism and the abstraction created by flattening the perspective just right.
