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Tom Glover - Dover Series

Local favorite Tom Glover created a series of paintings of Dover NH for us. From Dover Point to Garrison Hill, from Henry Law to 6th Street.

Availabe online and in our gallery.

"This group of small paintings evolved from a few small, relatively realistic works into more of a concern with tonality. The most highly tonal painting is "Between Sixth and Central". I was thinking not only about hue, but about a close tonal range especially in the church and adjacent houses with their shadows and angled roofs. There are a couple of Hopper paintings l can think of where he used shadows as tonal devices, but also in a deceptive way where two abutting walls are the same color.Yet they both would have been taking the light of their shadows, if you will, differently. Thereby making them two different tones. But he uses just one color tone! He makes the viewers mind make the leap into three dimensionseven though he fails to demarcate the two abutting walls. It is as if he is at once making us see three dimensions on a two dimensional surface, but then goes a step further to simplify the illusion to make another illusion. It's trickery within the trick!

FInally with some of the paintings l became looser and was more interested in catching a moment, rather than deconstructing space or a picture plane. It is typical in some respects to much of my work when l focus on a particular subject. Another series l am working on is about Brave Boat Harbor, and a particular area of the Harbor has caught my attention and l am really delving into it. The idea being that I tend to represent the subject at first more realistically until l begin to be interested in a different way of representing the topic or area. Generally l am trying to investigate, and then the paintings begin to dictate more about the subject matter (i.e., the painting)then the physical place. Conception, concentration and inspiration derived from the place is usually the final stage of investigating a theme or place. The place is alwaysthe theme, but at a point the paintings become a "sub-theme" in and of themselves. I am careful tonote here that the essential core ofsubject matter is always in the forefront of my mind, lestthe paintings brake away into fizzled nonsense"