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, how it is seen is 'remastered,' producing an image more tangibly present than photo accuracy, more believable with time and exposure.

                                                        yellow truck, 40"x44  

resume in the form of confessional:

I’ve always been 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 simply didn’t register to the prevailing sensibility, and any  similar approach was excluded from any sort of recognition or even acknowledgement. Actually, I wasn’t really thinking beyond my studio, pursuing expression in a common visual language, but then having the work seen at all was a greater challenge still.

Never really discouraged, I’ve always thought all of my work would become ‘visible’ when the old order passes, and a new generation begins to see the world differently. To be more specific, a more politically self-reliant citizenry might be more receptive to an inclusive art that verifies both personal experience and common thought, some form of representation.