As a long-time practicing graphic designer, I have spent many years working with images and contemplating structures of composition with image and typography. The need to satisfy my creative side is expressed through photography and the images that I am both drawn to as a viewer as well as a maker tend to be the antithesis of the crisp, grid bound, modernist typographic, graphic design that I have spent many years making. In recent years, I have added linoleum block printing and bookmaking to my repetoires - mostly as a medium for extending my photography but also as straight printmaking.

Monoprinting very readily lends itself to a spontaneous approach. The process itself involves alchemy. An image is created by applying ink to a plexi-glass plate. Dampened paper is laid over the plate. Together they are run through a press. At the moment of pressure a certain intangible thing happens over which you have no control. This is the beauty of it. It can be a meticulously planned, process-oriented technical experience, but it also completely lends it self to the beauty of spontaneity and emotion in art. I am not interested in technical processes. I am interested in art as a pure expression of emotion. I like to use color and form to that end. Bold form and bold colors are a language for me. Monoprinting has a beautiful element of surprise to it. I am never in complete control of my creations. I like that. It is a lot like life.

I am an artist interested in the visual psychic story of the human race, our struggle to understand universal emotions that cross over to all genders, races, and cultures. Our stories are born in history. My ceramic sculpture is about MEMORIES, in homage to our ancestors. Visual images of trees, roots, bones, locks, & chains are metaphors for family, secrets, stories, growth, life, death, both past and in the future. I see my sculptures as “offerings” to deepen the engagement between remembrance and (un) forgetting. 

My printmaking images are political. My objective is to challenge the myths of human issues and record changes with positive visual images that can help us view the world as a global effort. I often like to make very pleasing and colorful images to bait the viewer to SEE only to realize the narrative is a ‘warning’.

My paintings are a cross over of both memories & political and tend to be more abstract. I am dedicated to the visual arts as a way of giving back to our social environment with cultural images that enhance and deepen our care for human beings.

Capturing the fleeting moods of cityscapes and landscapes as they are transformed by fog, rain, light and darkness is my continuing passion. Reinventing and finding beauty in our day-to-day pedestrian world . . . watching the drama unfold in atmospheric changes as day recedes into the formless abstractions of night . . . reveling in the play of reflections dancing on a rain swept pavement and contemplating the mysterious in the spaces between the objects we see . . . this is my inspiration.  Through manipulation of color, design, nuance and form, I strive to make the ordinary extraordinary.

my new work deals with the way sensuality is expressed through the act of painting and the ability of fabric to veil and reveal our desires.

My work is focussed on color and the physical feel and look of paint.   I let the paint lead me to the story that the canvas will tell, to the location that is an abstracted landscape.  In addition to the abstracted vision that surfaces, an important goal is an intriguing composition of made of these elements: brushstroke, color areas, lines.

I am passionately inspired about luminous light and shadow and the sensuous nature of objects and their relationships to each other elevated to a higher level. The goal of my work is to capture the moment of wonder in everyday objects that may reveal a story for the viewer. I choose my subjects very carefully for the magic of their texture, color, or graceful design . Whether it be a persimmon with leaves, a shell, antique glass, exotic orchids, some gourds or a pear, all are transformed in paint with many layers of glazes some in oil on canvas and some in watercolor on paper.

Selections 2013: Home Rustic(most recent)

In this new series I am wanting to capture that nostalgic security felt as a child who knows where home is. Having grown up "Mid-Century" these modern architetural homes and tools are most memorable and still have a current and relevant feel.  So as we struggle with, "where home is?" we can always gleen pleasure from our feelings of our first home, no matter how mobile we've become.  The rusted steel represents the buildings gone by and the bright, thick oils carry the sense of hope and abundance.

Recent Works Circus Freaks and Sideshows Series: As a kid, I remember when the Circus would come to town, setting up in a vacant lot just outside of the city limits.  We could go see the animals being unloaded and feed while the men set up the Big Top. Those were amazing, happy memories. As an adult I realize that inside the Circus, it's a bit darker,  the freaks were painful deformaties and birth defects. The amazing animals weren't always rewarded well for their performances and life traveling the country in a train car wasn't an easy one. This series attempts to explore both the dark and the cheerful illusions of Circus life. 

Water Hi-jack explores endangered water species taking back their water supply in this frolicking, humorous eco-art series. Materials include hand-cut collage, photo transfer, and oil on wood panel.