My art is primarily inspired by phenomena which can be grouped in the following 3 categories:

  1. Nature, landscape and organic forms

  2. The urban world: architecture and technology

  3. The human condition (this is a new direction in my work).

A single style or medium alone would not suffice to capture the multiplicity of the world, so I've experimented with many different media and combinations of media – oil, acrylic, water color, and various inks. As I struggle with my source material at a conceptual and compositional level, I am trying to recreate and transmit the emotional impact my sources engender in me:  I am fascinated by the concept that paint laid down on canvas or paper in a non-representational pattern can engender powerful emotions like joy, wonder, and awe in the viewer. I believe that, when this occurs, a painting must have a meaning beyond itself, and it must represent a kind of heightened energy state with which the viewer resonates at some level. So I think the concepts of meaning and emotional import in my paintings are inextricably linked. 

When I paint, I am also trying to capture this kind of heightened energy state (all the while solving issues of form, color and composition).  This "energy" is difficult to define and describe, yet I am certain that it exists. As I've strained to will an energetic charge onto a canvas, I've often found paint self-organize in remarkable and wonderful ways. There is something very mysterious, almost mystical to me in the act of painting.

As I explore the energetic and compositional potential of different media and combinations of media, I also explore different facets of abstraction: Abstract painting is traditionally divided into two categories: Abstraction that is still in some measure representational, where objects are distilled to their essence, and, on the other hand, abstraction that is completely non-representational and self-referential. My body of work straddles these two kinds of abstraction, but falls mostly into an area between them: I believe a painting-regardless of its original source material- can represent or mean something beyond itself, without divulging what that meaning is - often even to the painter him- or herself.