Artwork
Much of my work falls into the realm of figurative abstraction. I think the suggestion of forms and objects is far more compelling than presenting the objects themselves. When a form or object is suggested, viewers are attracted. They think and interpret. They contemplate the composition and wonder whether they're seeing the intended image. They see things I never considered. It's interesting and their experience of the work is unique.
When the object is presented as the object, it is immediately recognized and interpretation stops. "Oh, it's a ___." Then, the nature of interpretation abruptly changes. It is no longer a matter of experiencing the work. It is a matter of evaluating formal qualities. Is the object well-drawn? Is it convincing? Is it well-proportioned? Is it well-rendered? Are their problems in the execution? It is a different and far less compelling analysis that deals more with the artist's technical skill than with the viewer's experience of the work.
Color Work
Color adds a powerful dimension to art. I seek to develop color schemes that support my work. I also like to explore the nature of color. It's interesting to me that some colors sit easily next to each other and others don't. I work with color progressions and I'm fascinated by the interplay of warm and cool, light and dark. I also use color as an excuse to play with different media.View Color Work
Graphite Drawings
Graphite drawing is a fancy way of saying that I use pencils. They seem so ordinary, so ubiquitous, and so forgiving. Using them with skill is more difficult than one might think, but I use them well enough to do my work. I use an additive mark-making process. I build up my surface on the sharpened point of my pencils, using the pencil to apply graphite to the surface. I do my best to preserve the surface of the paper, applying sufficient force to mash the paper fibers only as a last resort for reinforcing the darkest darks. The results are reflected in my drawings.View Graphite Drawings
Ink Drawings
Ink drawing is a relatively unforgiving form. Once the mark is made, it's usually part of the final work. Waterproof, acrylic inks eliminate erasing as an option. With heavy paper and a deft touch with a freshly sharpened X-Acto blade, it's possible to remove a thin layer of paper and eliminate truly offensive errors, but this is not for the faint of heart. Invariably, doing that changes the surface of the drawing, and you can only do it once in an area or you run the risk of cutting right through the paper. These risks attract me to ink as a medium. It's showing off, plain and simple. I feel confident enough in my skills to make the drawing. These days, I use Kohinoor technical pens with tips no smaller than .25mm on either Stonehenge printmaking paper or Arches bright white, hot press, watercolor paper.View Ink Drawings
3D Work
This page will eventually display a heaping helping of my 3D work. For now, it's home to my model of the TC GTR, a daydream-inspired road-race version of the attractive, little Scion TC.View 3D Work
