My career as a professional decorative artist for over 30 years has given me a broad foundation in the artwork I produce today.
I consider myself a Figurative Wildlife Artist with years of knowledge in the usage and application of acrylic paints, mediums, plasters and various other materials.
Over the years I have began to broaden my knowledge of materials, pushing the envelope with mediums and textures. My compassion for animals was a key factor in my life at a very young age and has stuck with me to this day. I study various species, learning as much as I can about them and how the environmental changes affect their way of life. It wasn’t until I moved to California from New York that I was inspired to begin painting them as my subject. I was amazed by the amount of wildlife I would see on a daily basis while I was hiking the numerous trails throughout the Bay Area, this has become the inspiration that follows me where ever I go.
I was amazed how many different species there are and how they so easily adapted to the urban environment that surrounded them while still retaining a sense of freedom to fly and land wherever their hearts desired. I was also influenced early on by the dioramas I had painted during the renovation of the Academy of Sciences in San Francisco. It allowed me to develop my work and my style in a more cohesive manner.
My next goal in my art career is to find the best way to blend the two aspects of my art experience together into a unified collaboration that I could share with others.
I decided to change the surface that I would work on to a wood panel and that’s when everything came together. I had the capacity to trowel on multidimensional layers, manipulate the surface, scratch away material and apply powder pigments, foils, gilding and plasters with seamless applications.
I work on four or five panels at a time never knowing what my subject will be as I begin. I am only focused on the color, textures and backgrounds. The inspiration for my subject comes to me intuitively while out exploring nature. It is as if the Universe whispers to me what I will be creating next and I just listen.
The wildlife is painted with a specific presence that connects the viewer to the subject. Sometimes the animal may be looking directly outward at the viewer looking in; other times the viewer becomes the observer. Either way there is an imprinting taking place between the two. This is probably the most fulfilling moment; when the viewer makes an association with the subject and can sense what I wish to express through the being I have chosen to paint.
Many times I am reflecting on a particular experience and sharing that vicariously through the subject.
As a professional artist, Tricia’s work has been produced mainly on a commission basis for commercial and residential clients in the form of murals, the decorative arts, and custom artwork. Working for others has given her the capacity to utilize various painting methods to strengthen her talent and develop a unique style that is recognizable through her subject matter and technique.
In her 30 years of painting, Tricia has had the opportunity to create in a variety of mediums and specialty materials with a strong focus in acrylic paints. She has assisted in painting the murals in the African Hall at the Academy of Sciences in San Francisco, the murals for the International Balloon Museum in Albuquerque New Mexico, and the murals for the Wynn Casino.
Her subject matter focuses primarily on wildlife. After moving to California and experiencing a whole new catalog of wild birds and animals, Tricia’s work was significantly transformed.
Over the last decade, Tricia has been focusing on her own paintings and teaching her techniques to others in her studio in San Rafael, California. This focus has led her to a new passion to publish children’s picture books.
Info about the Image “Impact”:
Impact is a mixed media work that is painted on a raised Baltic Birch panel. Multiple layers of paint were poured on the surface and sanded prior to the final coats of metallic plaster and metallic wax that was then troweled to complete a rather golden contemporary background.
I painted the Barn Owl in a much more realistic manner, which appears as though it is flying into the picture plane and at the same time stopping mid flight for what lies ahead.
What appears to happen instantly is a 22 karat white gold gild that adorns a dimensional plaster like material.
Together these elements express this moment in time right before the “Impact” happens.