I don't like to over-think the subjects of my work. There is no narrative. With every work, I paint what will keep me engaged in the aesthetic problems that I have set up for myself. I have a deep seated emotional and physical relationship with nature—trees and rocks keep me engaged. Trees with their burls, tangly roots, lanky branches, and powerful trunks—and rocks with their scaly features, lichen growths, fractal builds and strong matter. Having grown up in Maine, its magnificent trees and craggy coast are indelibly printed on my mind's eye.
In these recent small-scale works, I am exploring the paint medium within representational landscapes that engage first at a distance and then intimately. At a macro level the rich impasto is an abstract and complex interweave of color and textures, while at a distance these details flatten out and forms become familiar and the landscapes more in focus. I am particularly attracted to individual details or moments within a landscape that for me, define the space, e.g. a particular knobby growth on a tree, an errant rock, or even a particular color.
Hartford Art School, University of Hartford, 1987-1990
Studied with Alfred Leslie, George McNeil and Stephen Brown
Alexander A. Goldfarb Endowment Trust award for excellence in painting.
Early - Mid 1990’S bit of a fog, no drugs, just didn’t keep track...various juried shows, etcetera...type of things one does after art school.
Published in, THE BEST OF OIL PAINTING, page 115, The Zipper, oil on canvas, 20" x 22"
1996 - Present
started an antiques and art business and authored a couple books on Woodlands Indian Art and
Been painting full time, selling privately and showing with Fred.Giampietro Gallery.