For some thirty years I have drawn upon my art education and professional architectural background for inspiration when composing an abstract painting; intuition is primary—then media, proportions, colors, textures, and careful execution determine the final result. My work is primarily non-figural, non-narrative, and is meant to challenge, not pacify the viewer. Individual interpretation plays a primary role in the enjoyment of the final product.
I make art that is meant to engage people without employing any associations outside of the work itself; the viewer is introduced to abstraction only by the paint on the canvas. My work is a rejection/renunciation of any extraneous arcane meanings, or contrived external connections. Art should look like art, not like nature.
Each painting is a statement, an expression composed without any a priori ideas. I do not work from drawings or sketches; my painting is direct, and is the result of emotions/concepts originating from my subconscious; I employ automatic drawing when beginning a work as a primary technique of composition. This is not to say that my art has no meaning, it does, but whatever meanings are subtle, and they must be investigated and ultimately discovered by the viewer. An underlying sense of architecture and structure is often evident, but never arbitrarily included.
As an artistic foil, as a creative release from the precisionist work as an architect, I have devoted myself to an expressive type of abstraction, to an artistic mode devoid of the rules of perspective drawing. The result is an art of honesty, an art of two-dimensions, flat forms, seductive colors, varying impastos, and a loose brush. I employ my art as a sort of personal liberation from the demands of architectural drawing, and yet, I never completely lose the disciplines that I have learned. Consequently, each painting I make is both a private discovery, and a self-revelation.