I’ve always been fascinated with jazz and the ability to articulate an individual statement by improvising on music everyone knows already, eight to ten pieces by Duke Ellington primarily. Familiar subjects, mundane and unnoticed, are chosen to become the melody, the carrier wave. Instead of portraying the world as it is, an attempt is made to reverse engineer the mechanics of sight to produce a picture more tangibly present than photo accuracy, more viscerally 'believable' with time and exposure.

                                                        yellow truck, 40"x44  

resume in the form of confessional:
I picture the northern italian renaissance, four to five centuries back, as a time when painters changed the world by converting the haunted gothic consciousness, of just about everybody, to cause and effect practicality. They did it by painting pictures of what the world looks like to a rational modern mind, and even centuries later, they still shape the world we see today. If silvered glass faithfully reflects our outward appearance, art is the reflection of the inside, and much more profoundly it reveals much about the character of the artist, and also a lot about viewers for what they see, or don’t see, in it.

I find myself an involuntary harbinger of change, all because of an unfortunate personality quirk, a wayward gene I can’t control. I’ve always been an obstinate person, and perversely attracted to the most difficult way of doing things, don’t know why. It led me to an interest in making representational paintings when referential art of any kind was all but repugnant to the state-sanctioned sensibility, and totally excluded from competitions and grant considerations, or any sort of recognition. I wasn’t really thinking beyond my studio, pursuing self-expression in a common visual language, but then attempting to have the work even seen was a much greater challenge, still. Tough enough.

Never really discouraged, I’ve always thought my work would become ‘visible’ all at once when the old order passes, and a new generation begins to see the world differently. To be more specific, the advent of a more politically self-reliant and autonomous citizenry, seeking connection with the more general human community, might be more receptive to images that verify personal experience, thoughts and feelings, as expressed through representational art. If that happens it was for me a lucky guess, although so far it’s been older people who are beginning to respond, perhaps because they’ve seen the work somewhere before, maybe because it’s time.