Art that goes beyond the obvious, that goes beyond copying, that goes to the gut, that says something, excites me.

The figure has always been my focus, and over the years it's become a psychological focus, a not-always-easy-to-view focus.

I feel an artist finds out what they have to say by doing. It is discovered during the working process, being open to glimpses, fearlessly accepting whatever happens no matter what.

Get angry with yourself, don't be afraid to be desperate. Go to a deeper level within where your truth resides, where things feel right. Use materials that feel natural, that allow you to play.

Art for me must have a serious and profound underpinning, always poignant, often humorous, relating in some way to the universal humanity common to all of us.

N O T E S on the different series

My breakthrough work began in 2002 with my 40" PASTEL PAINTINGS, resulting in the large 80" PASTEL PAINTINGS from 2005-2008. Working horizontally, I completely wet the large sheet of paper and worked from the nude model with compressed pastel, which, when wet, is very intense, thick, spontaneous, uncontrollable and sensuous. I could not be clean or accurate, but I could wash out and put in new heads and figures as often as needed until something unexpected happened. By this process a world peopled with unusual characters emerged. I discovered a form of psychological realism, a commentary on the human condition and interrelationships. It's the psychological aspect that interests me, and I believe the viewer responds to. It sucks them in and keeps them there, sometimes uncomfortably so.

Next came my large 50" LITTLE PEOPLE series from 2009. Always fighting the impulse to be "correct" when facing the figure, I playfully made the heads large using pink ink and the bodies small using pastel. Adorable and mysterious, I haven't a clue where they came from.

The latest large series is the 50" SINGLE FIGURES from 2011-2012. This body of work is more figurative but has a new raw edge.

Parallel with these large works came my small, intimate PINK INKS, which are joyful, poignant moments, often funny, often off-putting. Ongoing since 2003, they just happen, with subtle changes over time. The work continues to the present: never planned, allowed to happen, always a surprise.


Of course at all times the pieces must compositionally and structurally work, which takes hours of looking and thinking and reworking, many more hours than any spontaneous impulse, but equally necessary.

My media has remained the same since 2002 when I feel my mature work began. I've used ink and pastels all this time. The heavy bodied, acrylic based ink is red earth colored, like blood, and the hard pastels melted in water is lush, like paint. My technique allows me to change anything at any time forever. Even an ink line can be made narrower with a razor blade.