Upon separation from military service I considered my options, already having had passing experience with business, two years at the university, and an introduction to technology as a computer repairman in the army. I decided to make a living with my hands and to pursue art. I learned screen-printing in a commercial shop and established a studio in 1979, hoping to support my early efforts with limited-edition prints. As it turned out, in the years that followed I gained additional experience in various trades and occupations, all the while maintaining the studio and continuing to paint. Working for wages became the template for my studio practice, and the pragmatic concerns of manufacture as well as a desire for universality led me to depict the everyday world we all share.
The work I’ve produced has been at odds with prevailing trends which up until recently effectively limited my exposure via juried exhibition and precluded me from grants and honoraria. In time I came to accept this establishment diffidence as a well-documented station in art’s meandering evolution, and have continued to paint in the same manner figuring to intersect with the arc of public sensibility at some point.
I use representational images to engage the machinery of recognition and memory, establishing a basic dialogue. Augmented visual cues and over-driven color relationships intend a depiction more viscerally ‘believable’ than photo-accuracy, images resolving with distance. Elemental terms begin to fully rationalize after being seen several times, an insight which thereafter applies to all of my work. My approach to painting is improvisational in the manner of traditional jazz, using known content as the scaffolding for personal expression.
I didn't come to art school to learn how you painted, I came to learn how to paint
Going to art school had some advantages for me