A gift transformed into a study of presence, structure, and the emotional charge of light
In Amaryllis Flower and Folds (1990) I was responding not just to a plant, but to a gesture — the amaryllis was a gift from a student, and its size, upright posture, and bold red‑orange petals immediately commanded attention. Seen straight‑on, the flowerhead had a kind of declarative presence, while the thick green leaves thrust upward with a sculptural force that demanded an equally intentional background.
That’s where the white cloth, tied in a knot at the center, entered the composition. Its folds created a petal‑like counterform, echoing the amaryllis without competing with it. The twist of the cloth introduced movement and softness, while the exposed tan wall at the lower right grounded the scene in a real interior space. It was my way of letting the background respond to the flower rather than simply sit behind it.
Even with these elements interacting — the rising leaves, the twisting cloth, the warm wall — the flowerhead retains its dominance. It rises above the composition, asserting itself through color, form, and the emotional resonance of a gift made visible. The painting became a meditation on how objects offered to us carry a presence that extends beyond their physical form, and how arranging them on the picture surface can honor that presence.
Dimensions: 22×30”
Medium: Watercolor
A gift transformed into a study of presence, structure, and the emotional charge of light
In Amaryllis Flower and Folds (1990) I was responding not just to a plant, but to a gesture — the amaryllis was a gift from a student, and its size, upright posture, and bold red‑orange petals immediately commanded attention. Seen straight‑on, the flowerhead had a kind of declarative presence, while the thick green leaves thrust upward with a sculptural force that demanded an equally intentional background.
That’s where the white cloth, tied in a knot at the center, entered the composition. Its folds created a petal‑like counterform, echoing the amaryllis without competing with it. The twist of the cloth introduced movement and softness, while the exposed tan wall at the lower right grounded the scene in a real interior space. It was my way of letting the background respond to the flower rather than simply sit behind it.
Even with these elements interacting — the rising leaves, the twisting cloth, the warm wall — the flowerhead retains its dominance. It rises above the composition, asserting itself through color, form, and the emotional resonance of a gift made visible. The painting became a meditation on how objects offered to us carry a presence that extends beyond their physical form, and how arranging them on the picture surface can honor that presence.
Dimensions: 22×30”
Medium: Watercolor
Painted with quality materials as well as matting under glass the paining is framed with real wood. It’s hanging ready including hardware.
