I’m a firm believer in the idea that I should “paint what I know”. Surrounding me is a neighborhood and a park where trees cast long shadows on walks and turf and on fences and yards. Nearby is the river. In my car on those long stretches of highway between towns, pavement is ubiquitous, so are cars, trucks, highway signs, power lines, and silhouettes of mountains and mesas. I combine images in my work, a river scene from one of my cell phone photographs with trees from another and a sky-scape from a third. Where actually the skies were turquoise or gray, I may paint them lavender and tangerine. With rare exception, my work is un-peopled, their imprint is there but they for the moment are absent.

I describe my paintings as landscapes but essentially they are intersections. Intersections of land and sky and forms and shadow. Landforms play a supporting, but critical role of providing context and a color foil. Skies and shadows play the lead, carrying the whole production with rich, ever-changing dialogue and marks seemingly laid down by a graffiti writer. Recently, I have added neighborhood botanicals to my body of work. One example is the Prickly Pear cactus. These cacti are endlessly interesting to look at; they are stark, spiny and tough as a boot, as befits a desert dweller, but they are also animate, bedecked with blossoms and flowers.

My paintings are more often than not on re-purposed canvases or Gator Foam panels. I paint over former images, but don’t sand down the surface before I start anew; rather, I leave what came before to show through. Thus, daubs and licks of paint become a ground for new images. I especially like the way the ghosts of former images provide glint and contrast in gold spray painted areas in the new work. Texture for me is a topography of the past.

In the early 80’s I exhibited my work in solo and group shows at the University of Utah and Springville Art Museums, Salt Lake Art Center and the Ogden Union Station Gallery. During this time in order to make my way, I fabricated large scale metal sculpture and signage at Wasatch Bronzeworks and designed office and retail interiors.

Coming to Albuquerque in the late 80’s, for two decades my focus shifted to building construction. In 2009 a professional change allowed me to resume art making. Since then, I’ve exhibited at the Albuquerque International Sunport, the Harwood Art Center and Casa Cultura in Albuquerque, and I’ve participated in group shows and fairs in New Mexico, California, Colorado, Florida, New York and Texas. I reside in Albuquerque’s Near North Valley.