​I am happiest when I am making things.  In fact my sweetest fantasy is that I would have a huge industrial complex at my fingertips where artisans in clay, metal, glass, fabric and wood would stand ready to turn my ideas and designs into reality. I studied both fabric art and goldsmithing for a time, but have become almost exclusively a painter of two-dimensional works in the last twenty years.

Arguably, the journey of every artist is to develop a vocabulary of visual expressions, a form of structure and semiotic, that can effectively communicate the ideas and sensations that bubble about in their heads and hearts. For a long time I employed realism in my artwork to create meaning through careful deliberation of an objects depiction, composition and association.  I strove to be aware of the personal and cultural content and context inherent in objects.  In series, the reoccurring presentation of particular objects was used as a clue, metaphor or symbol of  conceptual paradigms.

Over the years, the work has taken for its subject the factors which affect the apprehension of reality. Themes included how perception is affected by the mechanics of the perceptual process (eye/brain), the state of consciousness, personal associations, structuralism, phenomenology, the process of memory and effect of culture.  The pursuit of these topics has brought me to be aware of and curious about the dynamic relationship between an object and the viewer, to wit, how the act of viewing changes the object.  This relationship is investigated through the most current paintings executed in an abstract style.