Throughout my fine art career, I have always tried to produce works that are surprising, original and playful.  From beginning to end, my process of drawing, building, stretching fabric and painting inspires and delights me.  Beyond the works themselves, the reaction from audience and various interpretations completes my interest in to pursuing new opportunities.  Exploring concepts, the creation of new form and ideas pertaining to the concrete world in a somewhat non-representational way, these works question themes regarding diversity, identity and the relationship between object parings.

Many of these works could be thought of as both figurative and non-representational while blurring the lines between sculpture, painting, architecture and installation. The installation process has no specific formula and therefore perceptions will vary depending on the site-specific parameters.

These recent dimensional paintings, which I initiated in the late 1980’s, have modern influences stemming from Minimalism, the Post War New York School, Ellsworth Kelly, Agostino Bonalumi, Turi Simeti, Kenneth Nolan, Anne Truitt and Charles Hinman.  Deeply inspired by the aforementioned art movements, I have created an organic, biomorphic and at times anthropomorphic approach to three-dimensional stretched canvas works.

Armatures are made from a combination of mahogany, birch, and bending plywood. Through the need to modify for exterior displays, I began treating the raw canvas with marine epoxy and top coating with either an automotive, marine or aviation grade clear coat with high UV protection. Recent large works employ stainless steel tubing and 3/8” fiberglass and are very suitable and durable for exterior installation.

My working process is highly intuitive and approached by clearing the mind of prior influences.  I attempt to create unique forms and unlikely alliances that I refer to as “Unconscious Geometry”. 

I constantly remain curious and exciting about the potential of my dimensional paintings and their evolutions.  There is always an unknown until the fabric is stretched and the shapes are formalized. I proceed with excitement, as one would raise a child enjoying each step as a metamorphosis to adulthood.


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