These compressed-charcoal figure drawings have been the reference point of my work for 37 years, and are something of a meditational practice. Their execution requires full-body movement and extremely clear focus: no erasing.
The figure's placement on the page, often breaking the frame, is essential. Negative space is the Light; each deep black mark is the Darkness. They dance.

Large watercolors, appearing here soon, are the bridge between the drawings and paintings.

There is also a dance between figurative and abstract painting, between exploring and celebrating the frankness of that-which-I-find-before-me and exploring more theoretical aspects of experience and people. I make this work to be educated.

The divine geometry of relationship intrigues, whether it's the complex dynamic between two persons or the way a wrist whispers to the shin it's laid across, even while calling to the opposite armpit.

One ongoing series is called "In The Garden". Many of the forms are botanical, many abstract. In The Garden means On The Planet Earth.
With the exception of the big Lament triptych, these are painted with fingers rather than brushes.

In 1993 I found my way to a naturist camp in France for 2 months, a figure painter's dream. There began the Venus Series, an ongoing exploration of the concept of the Feminine in our culture, looking at Venus "backstage", or in the rain... this too is Venus, the real woman behind the myth, a send-up of the time (is it gone?) in which all women were required to be Venus.
Rather than the idealized form of female nudes in Art through history, in this world Venus is Everywoman.

There is a longstanding fascination with portrait painting (coming soon to this site), which I do on commission, from life. There is an evolution of the sitter that happens concurrent with the evolution of the painting, over the course of about one month. References upon request.