My Background

I knew I was an artist at an early age. 

Yet my B.S. is in Physics, minor Art. Math is gloriously beautiful, like walking eye struck through a Rococo cathedral.  I've extracted sulfides from Archean rocks in geophysics and programmed satellites on NASA grants. A mirror self.

Grad school in UCLA's MFA program made up for the B.S. I read about art history and contemporary art every day. Jenny Savile is fantastic. Andy Warhol is a god. I admire Robert Williams work and his direct, independent writing. Duchamp crystalized 20th Century art early. 

Art is my way of organizing and expressing thought and experience. 

Digital is the medium of our time.

I think in Photoshop. Recent pieces mix digital and traditional media. Some critics imagine that computers magically create digital artworks while the artist kicks back and scrolls Instagram. 

Until recently I painted in acrylic, for speed, and because acrylics still elicit some disdain.  I am moving  to the painterly sensuality and automatic credibility of oils.  A series of collages done for a University of Washington class last summer expanded my artistic vision.

Just as paintbrushes don't create paintings (except in Fantasia), computers are tools. It is as easy to create mediocre work on a computer as it is in any other genre or medium.

Perspective, representing environments as they seem, appears as a formal concern throughout my work. 

Linear perspective introduces serious distortions in the near ground. I used photomontages of a square tiled floor to explore a more accurate curvilinear perspective. The Harlequin's Perspective is partly about this.

Beyond that, for mood and meaning, I lean toward Jerry Saltz' assertion that works of art speak for themselves. I never wonder what to create. The challenge is how to winnow a flood of ideas into coherent form.

It is crucial to understand how other people perceive one's work, to continually challenge one's range, execution, vision.