New Work

This was made entirely from fireworks my son made. I’ll spend much of the winter developing this work. I’ve already began building a cathedral along the diagonal line at the lower left. This will be a months-long combat.

Explosives on panels, ~4’x2′.

Materials and Intent

Materials should lend themselves to the conceptual framework of the work at hand. The basic question “Why am I painting this?” is central to understanding what it is I’m doing. If what I’m saying is better said with another material, I don’t argue with that.

Intent is paramount. There’s nothing haphazard or random in this process. All sorts of factors must align and find cohesion within this framework. Uncertainty is always present, but it’s through the winnowing process of self-honesty and devotion to what specifically I’m trying to say that something new and strong emerges.

Detail of Lodz, 12″x12″ on canvas.
Detail of In Broad Daylight, 12″x12″ on canvas.
Detail of In Broad Daylight, 12″x12″ on canvas. 

In Broad Daylight

Developing the small painting In Broad Daylight, 12″x12″. Oil, aluminum, wood, linoleum, industrial paint, cloth & resistors.

This work, along with other miniatures on which I currently work deal with atrocities and personal anxiety.

In Broad Daylight
Developing the small painting In Broad Daylight, 12″x12″ on canvas.
In Broad Daylight, detail
Detail of In Broad Daylight, 12″x12″ on canvas. 


Detail of Łódź, a small painting (12″x12″) based on a large abandoned pier I once saw jutting out into the water. Łódź means ‘boat’ in Polish, and is the name of a Polish city in which the Łódź Ghetto had been established following the 1939 invasion. This pier, the rotting brick building, and a boat which will never come has resulted from the stories I’ve read of Łódź during WW2.

Lodz, detail
Detail of Lodz.


Small Works

Currently developing series of 12″x12″ miniatures which confronts the nature of mixed materials.

I’ve began to see what I’m doing as building and not painting, especially while using paint. These various structures made of different materials compete in a sense. They can’t help but be what they are, however, so each are their own reality, and exist in their own way. But somehow, if I build in paint successfully enough, the painted structure can exist with the others and hold its own. Of course just the act of painting something on one hand and constructing it w/aluminum or cork on another holds lots of interest in itself. There’s something of value there…. Intent is really in the forefront now because materials have such unique properties. They have to be handled correctly, though what drives this intent is something I’m just beginning to understand.