I developed this graphic element as a key part of a solo show at the Kentucky Center. It made reference to the architecture of the site and to the excitement of opening night!
This painting from my Kentucky Center exhibition refers to the John Chamberlain sculpture in the lobby. The title, Aftermarket comments on Chambetrlain's practice of recycling scrap materials in his artworks.
This standout feature of the New Mexican desert has always appealed to me. It's an interesting, ebullient subject through the year.
This is one of a pair of small works. A collage of watercolor fragments mounted on canvas. An abstraction that speaks a language of its own.
My view through the structure of the Big 4 Bridge began to suggest the tracery of a Gothic window in a 15th century cathedral.
If you paint in Maine, this opportunity presents itself again and again. A solitary tree and the boundless ocean beyond.
My exhibition Crescent Hill Crossing featured many perspectives on trains and tracks. Nome more colorful and dramatic than the watchful and ubiquitous signal light.
This artwork was an unconstrained response to the to the colors and forms I encountered one bright fall day at Natural Bridge State Park.
There can hardly be a more exciting, dynamic place than a boat dock. Color and forms constantly on the go!
On a bright sunny day, this small coastal community sparkles like a gem.
In the early morning sunlight, these rocks took on iconic form. The intersection of darks and dazzling lights make a powerful composition. This painting was exhibited at an American Watercolor exhibition.
Where'd they Go!
