Introducing Sea, Sand & Sky
Over the past few weeks in the studio, something has shifted.
The coastline in my work has widened. The compositions have become more structural. The cliffs feel less rendered and more architectural, built in planes rather than described in detail. Light is carrying more of the composition. Color is still present, but it’s restrained, held within stronger forms.
This new body of work, Sea, Sand & Sky, marks a quiet expansion in my practice.
It isn’t a dramatic pivot. It’s a refinement.
For years, florals and saturated foregrounds were central to my coastal landscapes. They brought joy, movement, and brightness to the edge of the sea. In this series, I’m allowing more air into the paintings. The horizon breathes. The cliffs hold their own weight. The surface shows its joins.
There’s something honest about that.
The palette knife has become more blocky, more decisive. Edges are visible. Layers are built, scraped back, rebuilt again. The work is not seamless, and I don’t want it to be. There’s strength in allowing structure to show.
This series explores:
Architecture within nature
Light as structure rather than decoration
Expansion through restraint
Forward motion without frenzy
One recent painting includes softened California poppies in the foreground, likely the only floral in this new direction. It feels like a bridge between what has been and what’s unfolding.
I’ve shared a long-form studio video of that piece, paired with a reflective voice recording about this transition. You can watch it here:
The full Sea, Sand & Sky collection will be released later this spring.
Thank you for following along as the work evolves.
Lisa