As time has gone by, I have become more excited about the infinite possibilities of working in more than one medium. Most of the paintings in this gallery are the result of constant experimentation and a desire to remain open to whatever happens.


This is my most comfortable way of working, especially from reference sketches and photos. I frequently build an image in Photoshop using elements from several references in order to obtain a better composition.

Provence Hill Towm
Ashanti Woman
Bouquet Collage
Signs of Summer
Sweet 16
Colorado High
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Recently I have been focusing on expressing something less tangible, such as my feelings about the subject of a painting rather than the subject as reality. I can compose a scene with recognizable elements but not have to place any of those elements in their logical surroundings. Moving toward abstraction is difficult, and I am not always successful.

Signs of Summer
Italian Hill Town
African Fantasy
Ferme et Tournesols
A Flower and Some Weeds
Coffee Klatch
The Silent Screen
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This is the hardest of all, because full abstraction implies that there are no recognizable elements within the painting. Actually, there can be, but the real subject of the painting should be the mood and emotions the painting evokes or color or intensity. Something ephemeral. The composition – that is the arrangement of the shapes and values - makes or breaks an abstract painting. So I have to think and plan as I would with any other type of piece.

La Rive Gauche
Memories of Egypt
School Daze
Off Broadway
Study in Red
Winter Walk
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