High Desert Gallery
The landscape of the West has always fascinated me since childhood, such as memories of the Saturday Western movies with Gene Autry and Hopalong Cassidy and later a two-year stint as a ranch-hand in Montana. The opportunity to paint the Southwest and all its monumental glory has allowed me to collate fantasy with observational verity.
Most people think of landscape as honeybees and flowers and the circuitry of hurtling clouds in the midst of summer splendor. But the splintery wharfs and abandoned factories along the harbor have another kind of beauty, nature transforming all that funky detritus into icons of enchantment.
Self Portrait Gallery
"The Self is not ossified in some permanent immutable casement, always the same, but rather manifests itself as fragments of an expandable continuum. Just as a circle can be described by an infinite number of tangents in the trajectory of its rotation, so can the Self. Startled by the jolt of introspection, self portraiture is all about the discovery of the multiplicity of one's being, shifting through the masks of time."
Figures & Portraits Gallery
Some artists think that a likeness to the sitter is not important, so long as it resolves into a good painting. But for me likeness is tantamount. The expression of character or essence of the sitter is a most elusive abstract notion that the portraitist is trying to "capture". The painting is always going in and out of likeness. The trick is knowing where to stop it.
The play of light as it flows over the human body explores what is most basic to oil painting: opacities and transparencies all blending into a continuous seductive celebration. The rhetoric of flesh becomes a landscape of sorts where the singularities of truth reconcile with beauty.
My portraits combine into large operatic allegories — perverse, confrontational,vulgar — in which mythology and my studio on Calvert Street exist in a wacky simultaneity. Gypsies, dwarfs, nudes in boots standing by platters of fish cohabit a burlesque stage which is conjured out of the floorboards of my studio.
Still Lifes Gallery
The contrast of flowers and fish as subject matter describe the range and limits of my temperament, from surging lyrical energy to emboldened power, fraught with angst. Both seem to share in a kind of condensed painterly dishevelment that threatens to explode the convention of the motif.
World Trade Center Gallery
In the spring of 2001, The Lower Manhattan Cultural Council invited me as Artist-in-Residence to the 92nd floor of The World Trade Center. The bank of windows overlooked downtown Wall Street to the bridges along the East River connecting to Brooklyn. I painted 21 paintings. A few months after my residency ended, the first insidious plane came through those very windows.
Drawing begins in blindness; hand, eye, mind snatch fragments from the world of appearances.Each take is a collision with that world. It is a history of accidents which is fated, a tension between suspense and resolution.A good drawing creates Sight a mirror of the world in which we recognize ourselves.
Horse Drawings Gallery
As a kid I hung around stables and groomed with curry comb and brush many a horse, rode jumpers and exercised racehorses. In the process the horse's anatomy - withers, fetlock, hock - became instinctive, enabling me to draw the compact energy of horses in action quickly. These drawings are from the racetrack, in the early morning hours, when the horses are taken out for their ritual gallop.