About My 3-D Work

I enjoy using early training in psychology to understand what interests me as subject for painting. For instance, looking beneath the immediate car appeal of brightly painted panels and chrome I peered inside, under the hood to find a visual root in the shiny visual metaphors of collective mechanical shapes; complex header pipe clusters became dancing legs, ball joints, structural bones, tubes, and hoses, the internal shapes of our own anatomy distilled to a bare essence like a nude posing: the human as machine.

Some of my favorite recent work is industrial, using aluminum panels with digitally printed imagery from vintage slides taken in the pits of Formula One races during the seventies with titles like Brake Dance, High Lifter Blues and Light Spill in a Soup Kitchen. This work pays tribute to the great American abstract expressionist sculptor, John Chamberlain, whom I got to know a bit in Sarasota, Fl., during the eighties, that first composed steel panels into abstract expressionist art. Rather than sculpture, I define this work like shaping a canvas for wall display. Coincidentally it happens to utilize vintage race engine imagery made possible from new industrial printmaking process.


About My 2-D work

Over the years, evolving as an artist, I grew to prefer the more complex non or semi-objective style of working. I am deeply influenced by the essence of each season of the year subscribing to Zen Buddhist poetry and philosophy. I tend to purposely avoid references to landscape subjects as a way to paint something related, but less explored.

Music is a purely abstract form in sound that I use in early stages of composing a painting to trigger right brain domination. The music might be reflect later in the title as in the recent paintings We’re Jets from West Side Story or Be Bop.

Returning later to a completed painting will often reveal it as a subconscious, self-portrait. It’s a major element that appeals to me for painting non-objectively.