Artist Block Part 2: Painting Seattle While Exploring a Looser Style

There’s been a bit of a tug-of-war in the studio lately.

I keep telling myself I want to go bigger. Looser. More expressive. Work that feels less tied to the reference photo and more intuitive. And yet, every time I sit down, I feel that pull toward observation—toward capturing something real.

Brass Works Lounge—Georgetown

Maybe it’s my art school training from the late 80s and early 90s that still lingers. Back then, small, realistic watercolor paintings wouldn’t have been taken seriously. And somehow, that voice still echoes.

detail…

But here’s the thing—I have a list. About 20 Seattle images I want to paint. Places people recognize and respond to. Paintings that connect. Paintings that—let’s be honest—sell well as reproductions. Imagine that… making images people actually want to live with.

detail..

And still, I resist.

This summer, I had two shows scheduled that overlapped. It sounded exciting, but it created this constant stress—mostly around not being able to carry work from one show into the next. Because in my ideal world, they would all sell.

Now, with the second show moved to West Seattle in November, I feel a shift. The pressure has lifted, and the plan feels clearer.

I can focus.

The balance I’m working toward now feels right: leaning into my “little lovelies”—those small Seattle pieces I love making—while also making space for looser, more intuitive work.

Lately, that’s been happening in the last 15 minutes of the day, using whatever paint is left on the palette. Quick, gestural pieces. No pressure, just movement and color.

I’ve been doing this for years, and they’re often my favorites—little memories of color, abstracted landscapes.

Let’s see where this month takes me.