"…the sensuous element of thought."
"I have no objection to describing a painting-it's blue, it's eighteen feet long, it's ten feet high, it has rabbit-skin glue, and so on. But it seems to me to insist on this alone can only lead to a doctrinaire position…What I am saying is that my painting is physical and what I am saying also is that my painting is metaphysical. What I'm also saying is that my life is physical and that my life is also metaphysical."
I have exhibited nationally and internationally for over thirty-five years. My work has been published in numerous journals and books. On this website you’ll see selected paintings from different stages in my career. You’ll also find essays, critical reviews, and a resume.
A major influence in my work during my formative years was the Minimalist movement of the late 50’s and 60’s and a love for the art of Barnett Newman. Over time, my paintings developed into a synthesis of Geometric Abstraction coupled with the visual aesthetic of Minimalism. Aside from what I saw as a profound sense of beauty in Minimalism’s aesthetic, I took a special interest in what I understood as its unique approach to questions of truth and reality. Minimalism supplanted the use of illusionistic space in painting with “flatness” through a dismissal of perspective in an effort to emphasize the physicality of a painting as an “object.” It is often said to “picture” truth and reality from the standpoint of ontology whereby things, like painting and sculpture, exist on an objective plane of experience as “the thing in itself.” It was these ideas that challenged my thinking and ultimately found numerous manifestations in the development of my art.
The primary difference between minimalism’s approach and my own is a more flexible view of the capability of metaphor, linear perspective, spatial ambiguity and illusion to engage issues about painting that interest me. I have a view of life that encompasses ongoing change, an approach that relinquishes any attempt to theorize or understand the absolute and relies more on observation and intuition. This approach allows me to maintain the freedom to explore areas that shape my interest in knowledge, the unknown, spirituality, beauty and ultimately what it means to make a painting.
In my art, I use color, light, form, illusion and/or flat space and, at times, sound to explore that experience. I tend to see my work as a form of Minimalist/Romantic/Baroque.
I am an avid reader and an amateur poet. I played bass professionally for fifteen years, primarily jazz. I am also a former steel hauler of fifteen years. I was born and raised on the South side of Chicago.