As technology rapidly advances life is changing and getting more and more complicated faster than anyone could have imagined. Thus, by calling attention to the enduring splendor and simplicity of "Ordinary Things" I'm hopeful that my work can slow life down and un-complicate it to some degree.

These paintings where included in my 2012 NYC Chelsea Gallery show - "Ordinary Things".

Most of my Collage and Relief work begins with an image or, in the case of Relief, possibly an object that I come across. I guess you can say it's the foundation for the painting because it inspires the composition as it did with my relief / assemblage  work "Crematorium 55" (below). Also, at times, I may insert Collage or Relief into a painting that is already in progress to add clarity or character or, to simply focus on a particular view or segment of the work (see "Room with My Art" below).

See my blog post "Collage and Relief" for more insight into this medium and how I use it.

Simply defined, Abstract Painting - though not totally Non-Objective -  presents a imprecise depiction of reality. But, what complicates it is it's vast collection of subcategories - including: Cubism, Surrealism, Minimalism and Impressionism to name a few - requiring an MFA to sort it all out.

However, to me, these details are unimportant. What matters is that working in an abstract style allows me to disregard the constraints of realism and apply feeling, color and dimension to create something different, something unique and something moving. As you can see my abstract work travels between almost entirely non-objective to a blending of figurative images with non-objective forms and surroundings.

I have this thing for painting "Boxes"; it enables me to bring together three key elements that I labor to integrate into my work: simplicity, emotive color and dimensional form.

And then, by immersing these figurative images into abstract settings I seek to create a moving experience and sharpen the focus on what they are trying to reveal.

These paintings where included in my 2011 NYC Chelsea Gallery Show - "Homage to the  Box".

Some of my paintings have been catogorized as Color Field work. I guess it's because their character is viewed as evolving more from the interaction of color than from the fusion of form. An example is my painting "Red Boxes" (see below). It was included in my Chelsea Gallery Show "Homage to the Box". And, though I see it as stack covered boxes in varying shades of red, a review of the show set it apart as a Color Field composition.

My architectural roots often move me to paint city, land and seascapes. Yet, though I truly admire representational work in this genre', as with my preference for Abstraction over Realism, I prefer painting parodies of these views using my own blends of color and, at times, altering their configuration. Doing so allows me to express how I choose to see them rather than portray how they actually appear.

For many years painting was a diversion from the demands of my business and no effort was put into marketing my work. However, some paintings did sell: a few from my shows and the reviews they received, a few commissioned, and others simply from word of mouth. However now, as a full time painter receiving some notable recognition, selling my work has become more important.

My most recent work is for the most part totally abstract or figurative images blended into abstract settings. Some call the latter "Pop"; Gallery & Studio Magazine labeled it "Abstract Realism". My take is call it what you want. I simply enjoy the diversity of working concurrently in more than one style / genre` and the ability to use colors blended for one work to connect with others. (Note: Actually, I kind of like the categorization "Abstract Realism" for my work.)

Though I prefer working on larger paintings sometimes - as a change of pace - I'll do a run of smaller works that may develop from an old sketch, an emotive image, a study for a larger work or, from testing new materials or ideas. Many of these smaller paintings provide a shrewd way to get a true sense of my work prior to committing to a larger investment.