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Description
The Veil
Pen, ink &
Watercolor
9”x12”

The haunting chords of Leonard Cohen’s ‘Suzanne’ creep into my mind when I look at this painting now. I was working outside of my home studio, in a friend’s new age bookstore and Tarot parlor. On a wintery day near the end of December I had the whole place to myself and churned out this piece in about six hours.
I never knew how to explain this painting until I heard that song for the first time, three years later, and it all just clicked in my head. I think the feeling the piece communicates to you, the viewer specifically, is what the painting is about. I rarely find myself working on a painting or sketch where I’m thinking, ‘Hmmm. I want to make people feel this-‘ I’m more concerned with capturing how I feel. What ever you get from the picture is between you and whoever you chose to share that with. To me it is what it is.

I think this is one of my ex-girlfriend Amy’s best observations:

This is a picture of a thought. The tendrils and wisps of other ideas that led you here and that move on from here. An image and the certainty that all these bits are related but if you stop and think about the connections you will loose the continuity. Like a meditation where by thinking no specific thought you suddenly understand things.
I am sure greater wordsmiths than me have described such phenomenon with more acumen and success, but hopefully you get the idea. It is that meditative, organic element to Jerry’s process that fascinates me. He doesn’t have to know the connections between the painting and the title; he trusts that he glimpsed the truth. That the veil was parted for an instant and he captured an iota of truth on paper.

Description
The Veil
Pen, ink &
Watercolor
9”x12”

The haunting chords of Leonard Cohen’s ‘Suzanne’ creep into my mind when I look at this painting now. I was working outside of my home studio, in a friend’s new age bookstore and Tarot parlor. On a wintery day near the end of December I had the whole place to myself and churned out this piece in about six hours.
I never knew how to explain this painting until I heard that song for the first time, three years later, and it all just clicked in my head. I think the feeling the piece communicates to you, the viewer specifically, is what the painting is about. I rarely find myself working on a painting or sketch where I’m thinking, ‘Hmmm. I want to make people feel this-‘ I’m more concerned with capturing how I feel. What ever you get from the picture is between you and whoever you chose to share that with. To me it is what it is.

I think this is one of my ex-girlfriend Amy’s best observations:

This is a picture of a thought. The tendrils and wisps of other ideas that led you here and that move on from here. An image and the certainty that all these bits are related but if you stop and think about the connections you will loose the continuity. Like a meditation where by thinking no specific thought you suddenly understand things.
I am sure greater wordsmiths than me have described such phenomenon with more acumen and success, but hopefully you get the idea. It is that meditative, organic element to Jerry’s process that fascinates me. He doesn’t have to know the connections between the painting and the title; he trusts that he glimpsed the truth. That the veil was parted for an instant and he captured an iota of truth on paper.