Grants & Endowments
My philosophy of painting is about process rather than product.
I call it the "Painter's Path" because it involves a flow of unplanned actions that leave the painter in a state of unknowing and surprise.
Contradictions in composition and paradoxes in brushwork conspire to create abstract visions of imaginary places.
As a child – the story goes - I had a pencil or crayon in my hand as soon as I was able to hold one. Whether in a corner of our house, on a trolley, or visiting relatives, I could be seen drawing.
As one of the youngest members of the Philadelphia Museum of Art, I spent hours copying the old masters in my sketchbooks and saving my allowance to buy discounted art books.
I loved going to Fairmount Park to observe and paint the sleek racing boats skim across the surface of the river. In sunlight or rain - it was always beautiful. I imagined I was Thomas Eakins!
After tumultuous high school years, I met Harry Hasheian, an artist and mentor who changed the direction of my life. Harry provided materials and a space in his studio where we worked and spent hours critiquing our paintings.
Once I had put together a decent portfolio, I applied and was accepted to Tyler School of Fine Art for my formal art training. It was also around this time I also began the serious study of Chinese and Japanese art, language, culture, and Zen.
When I moved to Tucson with my wife Anita and two daughters, my field of vision became more expansive and contemplative giving rise to my philosophy of art that I call “Painter’s Path.” It’s about process rather than product.
Process painting is spontaneous rather than constructed. Its resolution is an undeniable Presence that confronts me waiting and enduring, self-existing, and yet, I may willingly shipwreck it. In my practice, the work reveals nothing outside itself. It becomes what it is.
Chinese & Japanese painting (Zen)
Dada & Surrealism
Alchemy & Jung
Poetry & Literature
Acrylics, Ink, Collage
Experimental & Combinatory System of Processes