human face, figure, psyche and soul have always been the centerpiece
of my paintings.
The folk are leaping, striding, swimming, flying, heading into
the wind at the top of a hill, dancing, bowling, maneuvering a
tight rope, stepping right out of their clothes and misconceptions.
Even in the works where my subjects are sitting or lounging--they
are thinking, being, going forward, or perhaps backwards, reviewing
I am a story teller in bright paint and fire words. I critique
–with humor, I hope–the absurdity of the human condition.
My aim in painting (& writing) is the liberating of myself
and the viewer from outdated notions of who we are, and who we
might yet be.
I know anatomy; my style, grounded on that, is loose, flowing,
brushy--giving sense that the work was painted in one fluid encounter
with the canvas. But seldom the case.
I often use black outlining to celebrate the forms. I always use
a wide range of color.
My ongoing pictorial interest in Greek gods, sexy goddesses,
and Christian iconography live side by side with portraits of
my friends and acquaintances. My subjects are familiar, and
wonderfully ridiculous in their demand for (unaware of ?) their
essential dignity and power invoking the humor, the playfulness,
the joyousness and absurdity of becoming.
I have drawn and written stories since I was barely able to
hold a pencil and
was lucky to live in a city with wonderful museums which welcomed
visitors of all ages. The legacy of the masterpieces I so persistantly
and passionately observed became living essences within my psyche.
They remain with me still, peering & provoking as I work.
They applaud good-- and boo false-- moves. I cannot shut them