About the Artist

Mark Collins has been painting professionally since 1996. His transparent watercolors are widely recognized for their abundant detail, dramatic lighting, palpable texture, and luminous color. His respect for and love of nature are reflected in his animal paintings and intimate landscapes, paintings that encourage careful examination of the natural world and thoughtful stewardship of the earth. Many of his paintings depict the the flora and fauna of the Appalachian Mountains and countryside surrounding his home and studio in Charlottesville, Virginia. Other works explore encounters from travels throughout the world, with a particular emphasis on the animals of Africa.  Collins is passionate about presenting quality work. He dedicates himself to a thorough and exact investigation of each subject. Articles on his work have been featured in The Artist’s Magazine (November 2003) and American Artist's Watercolor Magazine (Fall 1997 and Summer 2006). Collins holds Signature memberships in the National Watercolor Society,  Virginia Watercolor Society, Watercolor West and The Society of Animal Artists. Although Collins paints primarily in watercolor, he has recently begun to work in oil and acrylic.

About the work

To create the luminosity for which his work is praised, Collins paints primarily in transparent watercolor. Transparent colors allow light to pass through their pigment particles, bounce off the paper's surface, and reflect back to the eye. Examining multiple layers of these colors through a small magnifying glass demonstrates that repeated layering creates an effect similar to light passing through stained glass.

A small number of colors (about 6), known as purely transparent or non-staining pigments, allow the greatest amount of light to pass and are easily lifted from the paper with a damp tissue. Collins works as much as possible with these pigments alone or in combination with semi-staining colors. This process creates richness and luminosity in both light and dark areas within a painting. In his watercolors, Collins generally avoids opaque pigments as they tend to compromise clarity and freshness.

Another important component of Collins' work in watercolor is the paper itself. Because no white pigments are used, every bright or sun-struck area of a subject is represented by the white of the paper. No masking agents are used; the white paper is carefully preserved throughout the painting process. Although this approach makes the process more challenging, the results create a more natural depiction of sunlight.

At first glance Collins' paintings appear to be carefully controlled. But many stages of a work are painted loosely with a wet-into-wet approach. When closely examined, small sections of background or under-painting appear almost abstract. Collins designs areas of visual rest within each painting to contrast with sections full of detail. Generally, he completes one area of the painting in its entirety before moving on. This approach requires from the very beginning a clear vision of the finished painting. The colors and textures must be consistent and unified in the end.

What many people respond to in Collins' paintings is the intimacy they convey in relation to the natural world and a nostalgia evoked by the memory of an encounter with a wild animal or landscape. That the paintings reflect an obvious commitment to quality and craftsmanship and a devotion of time and care has earned the artist high commendation.