Although I hold a degree in printmaking, I have been painting in oils and acrylics since 2005. Within recent months, I have moved from predominantly figurative works to abstraction. Sometimes I combine the figure with abstraction in much the same as did the San Francisco Bay Area Figurative Painters of the 1950s and 60s. These painters include Elmer Bischoff, David Park, Theo Brown and Richard Diebenkorn. Generally, my paintings deal with matters of texture, movement, energy, rhythm, the ephemeral nature of life, the passage of time and a fascination with the techniques of abstract expressionism. I find the intuitive and improvisational aspects of abstraction "liberating." Many of my abstractions are inspired by the artists of the New York School of the 1940s, 50s, and 60s. Often my non-objective abstractions stem from blind intuitive drawings executed as reactions to auditory stimuli. I like to explore the use of vibrant color, loose brushwork and the use of oil and cold wax mixtures - a technique similar to traditional encaustic painting.
In addition to being a painter, I'm also a printmaker. There is a physicality to printmaking (especially "intaglio" or etching) that I love. It simply does not exist in the realm of any other 2-D medium. An etching is an art object in itself. It's almost sculptural. The feel of pressing or embedding an image into the dampened fibers of a fine imported piece of 100% rag paper is for me extremely sensual. I also find the repetition in printmaking very appealing. There's something very meditative about it. My solarplate etchings have become a bridge between digitally collaged images and real tangible art objects. The content of these etchings is based on bits and pieces of old drawings, my own personal snapshots and vintage photos salvaged from antique shops, flea markets and garage sales. I re-purpose these elements to create or invent a narrative that reveals the juncture of two worlds...the past and the present...the seen and the unseen. I like to call them "recycled narratives". Often I attempt to capture in my intaglio work a certain sense of a moment lost or of an encounter missed. Usually, my intention is to reveal something mysterious, quirky or magical about the subject(s) I have chosen.
My mixed media abstractions are inspired by the works of Robert Rauschenberg and Larry Rivers and other members of the Neo-Dadaist movement of the 1950s and 60s and communicate my interest in memory, the passage of time, history and travel.