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 intimate landscapes, paintings that encourage careful examination of the natural world and thoughtful stewardship of the earth. Many of his paintings depict the Appalachian Mountains and countryside surrounding his home and studio in Charlottesville, Virginia. His intimate landscape paintings were featured in an article titled "Getting Close" for the November 2003 issue of The Artist's Magazine.

Collins is passionate about presenting quality work. As an antidote to the dizzying pace of the 21st century and the age of mass marketing and rapid production, he dedicates himself to a thorough and exact investigation of each subject. On average, only 12 to 15 original paintings are created annually.

Collins is a Signature Member of the National Watercolor Society and the Virginia Watercolor Society. His art has been published in American Artist's Watercolor magazine and in Splash 6: The Magic of Texture published by North Light Books. Recently, his work was featured in the Summer 2006 issue of Watercolor Magazine in an article titled "Trust Your Instincts."

about the work

To create the luminosity for which his work is praised, Collins paints exclusively 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, 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. Collins generally avoids opaque pigments as they tend to compromise clarity and freshness.

Another important component of Collins' work 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 such a landscape or scene. That the paintings reflect an obvious commitment to quality and craftsmanship and a devotion of time and care has earned the artist high commendation.