I trust imagination and intuition, and am fascinated with process.

The art that I do always involves an interaction between the evolving work
and myself. It is conversation that is at times quiet and civil, at other
times a screaming match.

My paintings often begin directly on the canvas, or as overlays of transparent monoprints made from metal or plexiglass plates on my etching press. To these I might add loose washes of oil, acrylic colors, or layers of pastel. Shapes and impressions emerge.

In further developing the work, I might incorporate dry pigments, inks,
wax, dyes, collage, marble dust, graphite, colored pencils, adding more
transparent or opaque color, or whatever else the piece seems to be asking
for. I will use my fingers as well as brushes and other mark-producing tools
in the process. I might finish the work with wax or varnish.

While this approach to creating art is extremely personal, it is mediated
by a lifetime of involvement with the visual legacy of the past, as well as
of contemporary culture. My hope is that my most successful works will
have personal resonance with those who will view them.

My prints are hands-on creations, far different from Glicee’, or other such
reproductions. Each work in the portfolio was executed by me personally,
sometimes assisted by a master printer. I created the plates individually,
and printed them in several color stages, from one or more matrices,
using etching or lithographic inks. They are on all-rag paper, in edition
sizes of 15 up to 92.