As a visual artist I view my work as the result of an organic process, pursuing some ultimate truth which always seems to be elusive and just beyond my grasp. Therefore, I find it difficult to talk about my work in any definitive way. This is not made easier by the fact that the language I use is that of abstraction which relies upon sense impressions over the narrative. That being said, it seems that my work is a reflection of my ongoing preoccupation with the transient nature of life.

The result of this personal exploration has resulted in a developing iconography which has a history truly of its own making. It is a history which seeks to take into account both heart and spirit. I find that certain forms which carry some intrinsic meaning for me have, over the years, repeatedly asserted themselves upon the picture plane, but in different guises from one body of work to the next. For example, the more or less rectilinear shape which I find myself drawn to over and over again might, at one time, have symbolized for me a portal to the unknown. At another point in time it stood in for the figure. Perhaps now I am using it in a more abstract and less literal way, alluding to the notion of shielding, of becoming inviolable. 

In the same vein, it seems that the juxtaposition of certain forms I have used repeatedly within the framework of each piece (for example dark vs. light, fragility vs. invulnerability, hidden vs. exposed) all acknowledge the paradoxical nature of life in its physical, emotional and spiritual manifestations. The work shows that structure eventually decays and what is left is a visceral quality, alluding to the idea that all is in transition.....a seeping out from.....a splitting up between.....a breaking away from.....all serving to remind one of the nature of life in its cycle of birth, decay, death and metamorphosis.

Finally, it is important to mention that the physical process by which I create each piece involves that of transformation which is the theme I am attempting to address subjectively. I begin with paper on to which I apply a spackle compound. The surface is then hand rubbed and several layers of acrylic medium and washes of paint are applied, later to be rubbed away, leaving only a residue of marks. These become the ground upon which I build further experience. Bits of paper are culled from the studio drawer, relics of their former incarnations often used unsuccessfully in earlier pieces but which now find new life. Shapes emerge, only later to be submerged, in part or altogether, all in the service of satisfying some newly formed impulse. And so it goes.

In the final analysis, it is as if there is a certain inevitability, a certain rightness, being played out within the confines of each individual piece. It is an expression of the personal within the universal, the cycle further completed when the viewer brings his or her piece of history to add to the heap.