On the Flat No one has asked me a particular and obvious question. Why do most painters paint on an easel and I don’t? Perhaps they think they know the answer, that I am influenced by Pollock, a dripper-wanna-be. Or, the rejection of the easel could be a statement or choice. Maybe I do it because it’s different. No. The simple truth doesn’t go back to when I was three and painted with bare hands on the front porch floor with forest green oil paint, the better part of a gallon, too. It was because I have always worked on flat horizontal surfaces. If a large enough table was available that would be where I would draw or paint, otherwise the floor would do. Most kids have floors and tables. Everyone works that way or begins working on the flat. In art school you are expected to use an easel, unless you are focused on printmaking. Guess what? Etching, lithography, woodblock, and screenprinting were my media. All print forms are done on the flat. So, it is quite obvious t...

On the Hanging of Unstretched Canvas As my paintings are not painted on an easel, but on the floor from all sides, there is no actual up or down. There is only painted side and unpainted side. (in some cases, both sides of the canvas are painted). In a perfect world I would invite those participating in the artwork to experience the painting as I do, by walking around and stepping on the canvas. I like to think of the painting as a canoe or a rowboat or kayak. You may enter it or swim around it, looking in. It is only when you get into the boat that you can let it carry you away. There is nothing wrong with watching a kayak from a distance, but it is not the same experience as is intended for the vehicle. My paintings are intended to carry one away from the day to day, not necessarily to white water. As there is no imperative horizontal or vertical, no absolute right or left. The unstretched paintings may be hung either horizontal or vertical. There is only a sense ...