My Oil Painting Process: Creating Iconic Wolfe’s Neck

My brush moves loosely, chasing that feeling. I layer color like lichen—soft pinks, stormy grays, mossy greens—letting the textures lead the way. It’s not about getting every crack or crevice just right, but about capturing the vibe of the place: grounded, weathered, quietly alive.

The key to this large format painting was using a panel board as a canvas, and starting with a burnt sienna ground before starting. This contributed to the depth in the sea and the hard polyethylene plastic. One of my favorite moments in this painting is the sensation of setting a bearing on one of the far-off Sister Island, Williams Island, and Upper Goose Island.

\

Inspired by the timeless elegance of John Singer Sargent's "The Daughters of Edward Darley Boit,” and perhaps a bit of Normal Rockwell narrative, I wanted to capture timelessness. I opted to prioritize capturing the essence of the moment over exacting portraiture. I embraced the challenges inherent in the scene: from the impressions in the sand to the nuances of deeply familiar faces and the ephemeral qualities of the summer air.

\