I have been painting since I was a child.  Every idea, set of marks, system of formal generation that was once investigated remains in the toolbox of my mind to be pulled out later, reexamined, worked over, and built upon.  The movements of my hand are rehearsed a million times.  The steadiness is replaced with a slight tremor that becomes another tool in eliciting response.  I intend the paintings to reflect my earlier thoughts, patterns, imagery, antecedents, contemporary culture, my understanding of human response, and my intentions of the moment and each moment during the processes I went through to generate them.

Bodies of work develop simultaneously over years.

One body of work reflects my experience of place, time, nature, phenomenon, and geological process associated with Kelleys Island but modified by a lifetime of experience in the arts.

Another visits, revisits painting as language, as a method of understanding.

Another confronts the viewer with an ordered array, or what seems ordered.  Some disorientation may result for the viewer.  Optical effects physically affect the viewer.  The surface, rich with the texture of coarsely ground pigments, offers an anchor.  The painting becomes substantial.  Does the painting recede towards the light? Or does the light advance towards the viewer?  There is layering of system on system, not all of which can, in one moment be embraced.  Shifting occurs.  More disorientation, then the engulfing of the disoriented by the embrace of the transcendent experience…