top of page


This series investigates how a painting is able to function on many levels:  the abstract, symbolic, referential, imagined and physical.  I consider these paintings as being poised between the landscape tradition and the nonobjective abstract.  The work is not representational or imitative, but does draw on observations from nature or the built environment.  Properties and character of light and a sense of location evoke imagined spaces. Complexity and ambiguous forms generate kinetic energy in the process of becoming. The work is as much chronologic as spacial— each painting is a performative arena capturing and retaining records of events, time, and energy.  .  Resulting are metaphorical landscapes that are reflections of interior space made exterior and manifest in paint.  

Epineurial Field

In this age, life is intertwined with a vast mediascape of instant information. New scientific advances regularly flash into our understanding of the nature of reality.  As an artist, and painter of “traditional” mediums, I respond by engaging digital imaging tools to look deeper into my work. Like a scientist with a microscope I scan small areas of my drawings at very high resolution in order to magnify the image. This new output becomes another medium in my art practice. The mechanical apparatus enables me to manipulate scale, observe what happens to micro spaces as they expand, and juxtapose opposites of scale as well as ambiguities of scale, revealing entirely new structural formations of the subject.



Deliberate mark-making collides with outside physical forces that I welcome to play fundamental roles in the emergence of shape and pattern.  Accumulating countless layers, I also demolish—wipe, carve, scrape—following trails of creation and destruction and recreation of form.  These paintings might be called “abstract,” yet the marks are tangible consequences of direct actions in dialog with emerging marks, forms and spaces.  Each painting documents my struggle in time, my actions, reactions and discovery within the context of the work and, inevitably, mapping persistent contemplations of the wonderous and mundane.  

bottom of page