My work deals with the mapping of industrial constructions within pictorial space. I transform man-made structures like buildings and bridges through a process of computerization, layering, collage, and painting to form my own non-existent structures. No longer useable, but still recognizable, these structures are divorced from their functionality to maintain a connection between our present experience and an alternate realm of reality.

My recent paintings depict arctic landscapes at the edge of human inhabitation. They offer evidence of humankind’s attempts to measure, tame, live in, understand, and improve the world, set against the unknowable vastness of nature itself. These images express my own uneasiness about the future: are we looking at the ending of something or the beginning of something else?

In my work, nature, landscape, the bright symbolic sunrise, the gloaming, weather conditions, plant life, paint, and color become a stirred fiction. Recent paintings describe the landscape in clusters of reeds and grasses becoming chambers, channels, and shelters––tentlike formations of switch grass as architecture under big sky and distant views. I paint these images not only for what they are but for what else they are––how they build the case for emotional connection through observation, the meandering gaze, the contemplated line. These speculations depict an intimate yet runaway

Ever since art school in the sixties I have painted the figure in some form or another. Phillip Pearlstein and Alex Katz were influences there. My recent preoccupations with staging and full body movement have led to a series of paintings where dancers and dreamers interact spatially with a strange, alternate universe of beings and objects that are sometimes diaphanous and floating and sometimes tangible and solid.

We dream, we covet, we desire. These aspirations, realized or not, give us many pleasures, fantasies, and a sense of identity or style. They fuel a drive for personal fulfillment and distinction. They can be fun and exhilarating and just make us feel good.

Images of motorcycles and automobiles can be seen as representations of these desires. These images can signify speed, power, adventure, danger, prestige and sexuality. They are realities, fantasies and illusions at the same time. And they are evidence of our passion and our drives.