Harbour

Harbour began with color. I was drawn to a palette of blues and greens and the connection those colors have for me with the natural world. There was no specific scene in mind—I was simply responding to the colors and allowing the painting to develop.

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Using a palette knife, I began adding stronger, more defined marks. Gradually, I started to see forms within them: something resembling a mast, the suggestion of a shipyard, and structures gathering along an imagined shoreline. I added passages of water, allowing reflections and movement to give the emerging scene a sense of place.

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The harbor wasn't something I set out to paint. It appeared through the process of painting—one of those unexpected moments when abstraction begins to suggest something recognizable. I followed what I saw, allowing the painting to find its own way into Harbour.