Conforming to one signature style is often at odds with my artistic growth and experimentation. However, if you look close enough, you will see connections. My early work leaned toward the abstract and non-representational. Over time, I gradually migrated to realistic, two-dimensional representational and figurative subject matter--but never completely abandoned non-representational subject matter. Regardless of the subject matter, I strive to explore the depths and subtleties of human experience based on a synthesis of my experiences, memories, and direct observations. My work flirts with the nature of reality and how to represent it. My realistic renditions incorporate a certain amount of abstraction in the tradition of the early 19th century American realist artist Edward Hopper with his concise style, everyday imagery and content.
Figurative painting is the focus of much of the work I produce today. When I draw and paint figures, I am reminded that nothing is more important than people who are at the center of our universal concern for life. I believe that successful figurative work, in whatever medium, must do more than merely document appearances. It must offer a deeper understanding of both the creator and the subject. I am convinced that successful painting is a process of seeing and thinking, rather than one of imitation. My attitudes and feelings are at the center of my artistic expression. Because reality and perception are uniquely personal experiences, truth to the object or scene—i.e., to the actual—is relative.
“Cappello Pollo”
“Principessa Pollo”
“Lilith”
“Cain's Offering”
“Lot's Wife”
“The Butcher”
“You're Late!”
“Samhain”
“How I Met Your Mother”
“Adam”
“Haiti Connection”
“Albert”
“Tre Vecchi Uomini”
“The Big Idea Man”
“Untitled”
“Morrighan”
“Taylor”
“exploding Cells”
