
When I was five or six years old, my great-aunt Sara let me sit in her lap and steer her big Chevy Bel Air down Davis Dr. in Arlington, Texas, while she worked the pedals. (I suspect she also had a hand secretly securing the steering wheel, but can’t say for sure.) It was one of those thrilling moments of growing up, a rite of passage that cannot be forgotten. I knew then that I had the driving bone and was destined to love automobiles.
My work as an artist has consistently focused on the American experience, particularly in the first sixty-five or so years of the 20th century. The events and values of that era are the foundation of my personal identity and I get the greatest pleasure from trying to capture some of the essence of that time.
My work as an artist has consistently focused on the American experience, particularly in the first sixty-five or so years of the 20th century. The events and values of that era are the foundation of my personal identity and I get the greatest pleasure from trying to capture some of the essence of that time.
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I don't really like to write about my work as a painter. I just like to paint. I always hope that the work speaks for itself. But here goes. My work tends to fall into the traditional representational category. While I sometimes venture in other directions, it always leaves me dissatisfied, and I return to the familiar style. I am very much influenced by Edward Hopper and artists of the American scene.
In particular, I am drawn to images that reflect the era of my childhood, the 1950s, and earlier twentieth-century Americana. Many of the paintings included here are of family members or close friends. I derive the greatest pleasure from painting such images. Paul Baker, the founder and original artistic director of the Dallas Theater Center, believed that artists creative energy is initially generated in their formative years. In order to create, we must identify and ultimately tap into the original energy source to find inspiration. I agree, and it was this concept that set me on the painting path I have followed. In the mid-eighties, I hit on the "nuclear family" theme, which is directly linked to my original creative energy source, and it has been the anchor for my output. I hope that my work inspires a narrative in the respondent and, perhaps, a smile. I am most grateful to my wife, Betty for allowing me to have my "studio" set up in our living room and for being my favorite subject matter. I have painted her at least fifteen times over the years, much to her chagrin. I am also grateful to Carol and Glenn Dromgoole for their patronage over the years, their desire to publish this book, but most especially for their friendship. Charlie Hukill Abilene, Texas |