My work is known for its raw, dynamic energy and freshness. It is an intimate journey that blurs the lines between impressionism, abstraction and realism and conveys the unique character of a scene. Fearless exploration of color and brushwork allows me to portray not just the visual but also the emotional depth of any subject. 

View from Cow Bar Nab, oil on linen panel (plein air), 11 x 14” (27 x 35 cm) Often, I use studies as a reference for a studio work that is an entirely different composition. Sometimes it may even be another subject altogether. It is the learning and observing outdoors from life that teaches me so much and allows me to create in the comfort of my studio. Here, you see how the colors and essence of View from Cow Bar Nab, painted on location in Staithes, England, became the resource material needed to paint Yorkshire Coast (opposite page) in the studio once I returned to Tennessee.

 

My painting process is an intuitive response. I do not begin every canvas the same way. Instead, I allow myself the joy and feel of the paint, pulling off the brush, slightly adjusting the pressure onto the canvas, giving in to spontaneity. Having a firm idea is essential for me. Sometimes my planning is quite thorough. Other times, the idea has been developing in my head for years, and the painting seems to paint itself.

Yorkshire Coast, oil on linen panel (studio), 30 x 36” (76 x 91 cm)

 

The Keeper’s House, oil on linen (studio), 20 x 24” (50 x 60 cm) The Keeper’s House is a scene from Marshall Point in Port Clyde, Maine. On a bright morning in mid August, I followed a narrow path down the hill on the back side of the lighthouse. Capturing white structures in silhouette against the sky is a favorite painting motif for me. The plein air piece sold that day, but thankfully, I had a photo of it. It and my visual memory were all I used to paint this studio piece, which became the image for the front cover of Lori Putnam: So Far, released in May 2023.

 

I learn directly from nature, seizing the transient qualities of light, color, atmosphere and authenticity—things I cannot capture in a photo. My on location studies and visual memories are my primary resources for creating paintings in the studio. Developing a solid visual memory is like recording snapshots of shapes, values and colors in the Rolodex of my brain. The key to doing this effectively is to practice observing and paying close attention all of the time, not just when I am painting.

Afternoon Meeting, oil on linen panel (studio), 11 x 14” (27 x 35 cm) Painted in 2023, this piece was inspired by a trip to Cheyenne, Wyoming, about 15 years ago. In the early afternoon, cows often lay together and rest, making them a more accessible painting subject. By relying on my visual memory more than a photograph, I can retain the freshness of plein air in this studio painting. Here, they appear to be having a meeting, likely discussing the problems of the world.

 

The hard work is done 20 feet away from the canvas, in my head, making careful decisions. Once I know what to do, I approach the easel and paint an intentional and meaningful brushstroke. No dabbing, no blending. Hard and soft edges are created by varying the pressure of the mark as it is laid down or by subtle shifts in value or hue. If the painting “reads” from a distance but only appears as abstract shapes when viewed closely, I am satisfied. —