unseen painting ...

"shadow dance" in progress ...

and their secret life when the lights go out ...

unpainting "flora" ...

detail of unpainting ...













a more global perspective ...
[9'h x 13'w]

"flora" blooming ...

been working on this one for nearly nine months ...
sunday morning it was all brought back to white,
with more than fifty choice layers beneath the surface ...
keith jarrett's "radiance" against an aural backdrop of twittering trees -
sunday and monday were perfect for baking paint - 'frozen moments'
lapis lazuli, azurite, pearlescence, siennas, and quin golds ...
























now comes the peeling, scraping, trimming, and sanding
to see what the last nine months has provided ...

blind faith, intuition, and experience ...

circumstance ...

"electric avenue" + "shadow dance"

















"rain - heavy at times" - an understatement ...
its beautiful - the ground is soaking it all up -
the plants and trees [and weeds] are getting stronger by the day -
so is my faith and healing heart ...
i heard a comment last night:
“when man plans, God laughs” ...

i used to think the rain raised challenges -
now its just another, somewhat different circumstance ...
i’ve always relied on certain temperatures for drying,
sun for baking, humidity for slowing things down ...
even water on a much smaller scale
for saturating surfaces to achieve specific results ...

so mostly, i organize materials and ideas
while interacting with other forces -
to document or freeze a moment, an event, or sequence of ...

[probably why amber fascinates me]

baltic blues + amber forests ...

a rainy day here in pa -
not much to say except i've been thinking about colors -
anticipating my next moves with the five large scale
works in progress ...
truth is, i could have worked two of the pieces in the rain -
i mixed color instead ...
rain or shine tomorrow ...

la, ca ...

recently returned from Los Angeles ..
as usual - healing and inspiring ...
enjoyed the company of some old friends, visited familiar stomping grounds, beach cafes, hit a few museums and galleries, made discoveries ...
and generally, just dug the vibe.
i miss it - a lot -
mostly the ocean air with walks in and along the Pacific every day -
sunsets over the ocean -
maybe its bred into me -
part of my dna from the Baltic Sea and my Lithuanian grandmother’s family -
or maybe just a truck load of fond memories.
one thing i’m sure of - i need to return more frequently ...














the Baum's + Gehry ... with Greg Miller ...


















with Moses y' Blanco [Ed Moses] ...

from here on ...

the summer studios are back in full production again ...

trees, sky, grass, birds, animals, weather - perfection ...

artist statement ...

my paintings are improvisational -
like jazz ...

informed by nature and responding to the ever-changing conditions of its life force,
the paintings are symphonies of compressed time ...

through multiple layers of application and natural selection,
their surfaces ultimately reveal a tactile history of the process ...

i’m inspired by the lyrical qualities
of work by Tiepolo, Masson, Dufy, and Gorky;
the colorful playfulness of Cezanne, Chagall, Mompo, and DeKooning;
the urgency and deliberate approach of Pollock, Twombly, and Moses ...
the conceptual harmony of Smithson, Polke, and Rabinowitch ...
and distressed surfaces of frescoes,
ancient manuscripts, and medieval paintings ...

over the last ten years
the majority of my work has been produced outdoors
beneath a lush canopy of forest amid abundant fauna
in Upper Bucks County, PA along the Delaware River ...

those are the rhythms i’m playing to ...


critical notes:

“he effectively combines a wide range of disparate information in order to suggest a constantly transmutating world, a world where nothing is ever still. It is a world where numerous events are occurring simultaneously, a place where sudden as well as constant change is the norm ...”
John Yau

“one is reminded of the process by which they came into being - through the sensuousness of surface texture created by the veiled layers of paint that reveal only the necessary elements of the mystery of being ...”
Sandra Erikson

“it’s like creating a new language from bits and pieces of various old languages - now comes Harryn with his unlikely choices and juxtapositions laying the groundwork for some overdue ‘new’ ideas ...”
Michael Lally