Solo Show at FDU

The best parking is across the street from campus, at the tennis courts. The gallery is on the main floor of University Hall. Everyone is encouraged to check this out.


There will be a great contrast betweed black/white and bright colors, as well as between small and large scale. All the emotional, synethetic implications that are associated with such contrasts; contrasts that exist within the same subject.

The paintings address the following contrasts and relationships:
transparency/overlap
matte/gloss
depth/surface
"real"/synesthetic color
motion/still
liquid/solid

The etchings also work with water as the obvious subject but explore themes in a more traditional depiction of the medium. Beyond the multiple prints of an edition relating to the repeated pulsing and crashing of waves, there was a discovery that a drawing tool works in a much more fluid manner than a paint brush often can. Though paint is more fluid, this more like water, in actuality, the process of drawing does not demand as many interruptions, therefore can continue with much greater fluidity. Additionally, the application of ground, the melting of resin, the application of shellac, sumersion in an acid bath, and many times being rinsed in water, demonstrate many more steps that are LITERALLY fluid, in the process of creating an etching plate.

Both aspects of this body of work (painting and etching) are meditations on water and it's close relationship to my creative process. Breathe in the work from a distance, but please, stand close and really look, for that is where most of my time was spent; where the deep meditation happened; gazing into the layers of paint; focusing on a single line...

The next stage of this ongoing project is called 100 Waves (thus the title of the show), and will continue in a new direction after this show. Therefore the pieces shown here in April are the culmination of the first major phase of this long-term project. Be sure to take this rare opportunity to see it all before it's too late.

rare, hand colored etchings

I like to color the imperfect prints that are pullled from an edition. It makes the anomolies even more unique. Usually I just save them for friends or special events.

this one is really special to me. I made a drawing, a painting, an etching, and now this hand colored etching of this spot in Corciano, Italy. It is the ancient retaining wall that holds up the hill; the hill upon which a Monastery sits. We could see it from the roof of the studios. Being jet lagged for the first week, I was often up before dawn, so sat on the studio roof and watched this scene emerge from the night's darkness into the warm light of Umbrian morning in September. There really are a set of olive trees that stand out a little bit, in a cross. I just gave them a little bit more of that orange glow from the sun that shines so intensely in the summer. Two of the etchings are colored like this, and two are colored with a more yellow hue that reflects the late summer dry season.

a small "grabby" wave. I like the summer. I love getting out of the water and walking around on the soft, green grass in my bare feet after boating. Someone mentioned that this looked like a plant, so I decided to surround the wave with green grass. This is the only one that is colored.

river water is rarely blue. It is often brown, ochre, green; almost every color EXCEPT blue. This, too, is the only colored version of this etching. It is called "haystack". That is what some people call standing waves that jump straight up into the air, seemingly out of nowhere. I imagine that the first person to give this type of wave the name "haystack" had seen paintings by VanGogh of farm workers harvesting wheat or hay. (or they, themselves, could have been a farmer)

have you ever gone surfing in the moon's light?