Artist Statement

I love cars. I love speed, I love sailing and skiing. I love the Rocky Mountain west, the sharp light and the stunning, glittery landscapes ever since I was a boy. I love the design of vehicles and equipment, which is about speed and form in motion. I love the eras of car design, how automobiles are and integral part of American landscape. The cars and eras, bloom, die and are reborn and reinterpreted. They express individualism and consumerism, from basic transportation to the finest machines money can buy. (If I lived in prehistoric times, I’d probably paint hot chariots, beat up carts and rafts.)

I am a life-long student of surrealism in all it’s various forms, from Futurism to Dadaism, Magic Realism to Absurdism. DiChirico, Magritte, Boccioni, to Dali and more. I also admire the great 19th century western landscape artists of New Mexico, Colorado, Utah, Arizona, Wyoming and Montana. I think America, especially the American west, is surreal with its contrast and light the never-ending tension between nature and civilization. Add a Lamborghini Aventador, a rusted ’65 Buick Wildcat, or a faded turquoise stepside Ford F150 to a scene and it captures my sense of the west.

I am interested in the cognitive dissonance that disparate, surreal and dream-like images create. Our human brains naturally try to put this discord into some sort of narrative, but it doesn’t quite fit all together, disconnecting our brains for a moment, hopefully in some interesting and powerful emotional and/or intellectual way. This of course, takes us into the present moment or timeless moment, which is the power of any artistic expression. I also like to play some games in my paintings and often making allusions or visual puns.

I use many oil painting techniques, some passed down from of the old masters, using a lead white base and maroger medium. I also use techniques from master house painters I have worked with. Some techniques are invented in the process of painting the painting. I experiment with modern metallic powders and other media.

In my acrylic multimedia paintings, I experiment and play with photographic images I have taken on my iPhone, abstracting from the photograph, blurring the boundaries between realism and abstraction and photography and painting.

In my fully abstract oil paintings, such as my Speed and Light series,
I strive to achieve visual balance in an interesting way, again, using some of the old master’s prep techniques and mediums, and to achieve maximum luminosity, I use various sizes of glass microspheres.

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