Emery is a 57 year old Marin native who draws his inspiration from the
trails of Marin and the High Sierra.
I have been drawing and painting professionally for 32 years and show my
work in community art festivals, group shows and open studios as a way
of meeting those who appreciate the work.
Currently, I carry a camera when I go running, or exploring, and come
back to my studio to produce paintings from these photos. While out on
the trails, I seek the season changing events, the spectacular, the
ethereal, the curve of trail, or shoreline, the sensuous. Some art works
are from my body of work which I refer to as "intimate portraits of
My prints are reproduced from acrylic paintings on watercolor paper.
They are slightly enlarged, to show the texture of my techniques, and to
differentiate them from the originals.
is a description of my technique:
I work in acrylic paint on paper along two distinct paths, landscape
work & a lyrical body of work. I work on each side by side, and each
contribute to the other in many ways.
In my landscape work, the uniqueness of wilderness enters through the
many trail miles I cover, taking in the change of season, light, sounds
& smells of places I have grown to love. Whether in the High Sierra, or
Marin, I focus on the intimate, and take photos to work on back in my
studio. These "intimate portraits of landscape" are begun with very
transparent composition and work toward the brighter, darker in many
transparent layers. In the early stages, much can still change, and when
forms seem rightly placed in space, they progress to completion. The
light whites & brighter colors in these pieces use the white of the
paper as the source of light.
In the body of work I refer to as lyrical, I do not know where they will
go, just how they will begin. They start with a line that begs letting
loose, a sweeping, elegant line, a curve, a wave. From there, I enjoy
the many journeys, trying color, depth, imagery, listening to different
music along the way. They are paintings where time becomes an element,
as dance to music, as lyric to tune, pieces of the painting itself
remain as history.
Eventually some form emerges and I work the rest to support this
element, seeking justification for its existence with many questions.
Often, this can no longer hold up, but the rest of the painting has come
alive. This is often a difficult but essential part of the process,
painting out that which has no more importance. Bits and pieces of each
of these journeys remain, as bright spots, movement, mystery.
The pieces are complete when the conversation has ended. When the
various elements in their painted environment make sense of this long
conversation. When it has become not just a painting, but something that
connects me with the long tradition of art.