Dearest Tom,

After a recent review of all your pieces represented in "Quiet Places", "Roots & Wings" and your website, I thought you might be interested in the works that I have identified as my favorites from the early days up to the present. In each case, I will endeavor to illuminate my choices offering brief explanations with the understanding that I have no background whatsoever in art criticism and know very little of the vernacular. Much of the art here in Kentucky is equestrian related so I have had limited exposure over the years. I will attempt to explain my feelings and reactions; they will not be meant as commentary on your creativity, style or expertise. Following this, I will dscribe the works that I previously noted as disturbing to me and will give an account of why in each case. With that being said, I think you know how much I respect your entire body of work and how much I admire you as an artist and a man. I have known you more than three decades, and it was a fascinating journey to identify my choices. Your feedback is, of course, welcome. And I would encourage others to communicate their choices in similar fashion. So, here goes:

FAVORITES (in random order - not ranked)

"Archangel" 1960 p. 18 R&W

Michael, the Archangel, is the protector of God's people against Satan and the forces of darkness. As such, he is one of the mightiest angels. I am drawn to this mixed media presentation because it is powerful and edgy as it portrays a warrior rather than a benevolent presence.

"Sinnissippi Greenhouse" 1989 p.57 R&W & wsite

I love the color and life of this painting; I wish that I could see it in full size. The boldness and drama are incredibly appealing, and the subject matter is familiar. The location itself brings back fond memories of Rockford.

"Harvest Series #6 & #8" 1981 pp.68-69 R&W

At first glance on the printed page, these paintings almost look like photographs to me, especially #6. It is interesting that in their original form, #6 is acrylic on canvas, and #8 is watercolor on paper. I am intrigued by the texture as well as the intricate detail of these pieces.

"Swamp Egret" 1993 p. 100 R&W

Again, it's the color as well as the reflections that mesmerize me. The egret itself seems to glow in the setting. The scene itself is tranquil, but the portrayal is full of movement and life. This is a smaller piece that packs a real punch in my estimation.

"Spider Woman's Nest" 1977 p. 131 R&W

The detail and magic of this painting still amaze me more than 30 years after I first saw it. I think we learn an important lesson about finding value and beauty in things we may never fully understand. The subject has strong cultural significance, and I can appreciate it for its important spiritual purpose.

"Earth Calligraphy" p. 63 QP

I feel strongly that I have seen this painting in its original form. The pattern and flow are pleasing to the eye and somehow quieting to the mind. There is security in structure and familiarity. Nothing is disturbed here; it is pure.

"Rain On My Window" p. 137 QP

This is an easy one. A long time ago, I sat at a desk outside Dan Nicholas' office for two or three years where I saw this painting every time I looked up from my work. Its dark and brooding abstract form were and are very appealing to me. Thank goodness I loved it; otherwise, I would have had a less than pleasant experience each day.

"Roots and Violets" Website

There was a time years ago when I had some fun with 35mm photography. One of my favorite subjects was tree roots. There was always an element of interest for me. This painting is so much more satisfying than anything I ever came upon. And, it is, fortunately, much more enduring than my photos stored in the basement.

"Silver Morn" 1981 p. 207 R&W and website

I was so excited to see this landscape in both locations. The softness and serenity are strikingly beautiful. The reflections and the foggy haze add an element of enchantment and the supernatural. It is breathtaking.

"My Boy Kane" Website

They say that the eyes are the windows to the soul. But I believe this to be true only for young children and innocents. As we grow older, we learn to place buffers between ourselves and those who would attempt to "read" us. Our windows become shadowed as we strive to self preserve. Kane's eyes are both telling and eloquent. He is innocent, vulnerable and riveting.


SOURCES OF DISCOMFORT

"Archangel" 1976 p. 134 R&W

This one must be a minion of Satan; he doesn't look like a protector or a messenger.

Two Sketchbook Entries 1978 p.138 R&W

The sketch on the left is brimming with angst and torture - two of my least favorite depictions. The sketch on the right is reminiscent of whatever period it was that Picasso created all those deformed portraits. Of course, this is personal taste. Those Picassos now sell for millions.

"The Rape of Dixie" 1967 p. 139 R&W

This indicates it was a preliminary sketch. What did the end product look like? It's difficult to be reminded of this kind of violence.

"The Visit Series 1-4&6-8" 1978 pp. 149-155 R&W

Where is #5? I know I have a very unsophisticated art palette, but these haunt me. Maybe it's becuase I know something of your sensibilities. I will grant that they are very well conceived and masterfully executed. I am just thankful that you didn't ask for my opinion of this series at the time. I may have run.

So, this is it, for whatever it's worth. Any insights you care to provide would be greatly appreciated.

Since you are fond of Gibran quotes, I will close with one:

"The appearance of things change according to the emotions, and thus we see magic and beauty in them, while the magic and beauty are really in ourselves."

Thank you for the magic and the beauty you have revealed to me. Laurie