Over the past few years, I have been shifting between indoor and outside studios to build my sculptures. This transfer encouraged me to select a material that would withstand and interact with the environment. Combinations of copper, found metal, and wood have been the perfect solution. These constructions mimic shapes and patterns repeated in nature, becoming plant-animal hybrids.

They rely on natural elements such as wind, water, fire, urine and dirt for their patina. The latest assemblage of work focuses on longevity. Technically, they are never

My work consists almost entirely of an on-going, "serial portrait" of my wife Colette Crutcher.  I began this project over 25 years ago when Colette was pregnant with our first child, and I wanted to record the physical and emotional changes she was undergoing.  Gradually I realized that this single focus on another person as subject had potential beyond the immediate circumstances of Colette's pregnancy.  I became intrigued with, or perhaps obsessed by, the possibility of depicting Colette as a whole person, through a multiplicity of images made over time; time being the dimension that is absent from a single portrait image.  Rather than dealing primarily with the biographical facts of her life, I want instead to convey her subjective experience, through the medium of her body, the outward expression of her inner self.  However, a portrait is, by definition, one person interpreting another person, scrutinizing from the outside an ever receding mystery, one which even in an entirely open hearted person like Colette, plays  a teasing game of hide and seek.   So the results of my efforts are always uncertain and provisional, full of gaps which I fill in with my own materials, making my portrait a kind of self-portrait.  In the end, what I have created is a kind of hybrid entity combining elements of both me and Colette.  My hope is that the viewer, who doesn't know either of us, comes away from my work with a sense of a powerful human presence, which is as good a way as any of describing my subjective experience of Colette in my life.

My focus this year is Mission Bay and the ships in repair or being stored along this once-busy area for ship building and repair. My interest is in the details and composition of the elements that make this a vibrant and larger-than-life environment on its' last legs by the look of things. Another focus is my drawings inspired by this photography, bringing back a hand/analog element to my artwork.

Capturing the fleeting moods of cityscapes and landscapes as they are transformed by fog, rain, light and darkness is my continuing passion. Reinventing and finding beauty in our day-to-day pedestrian world . . . watching the drama unfold in atmospheric changes as day recedes into the formless abstractions of night . . . reveling in the play of reflections dancing on a rain swept pavement and contemplating the mysterious in the spaces between the objects we see . . . this is my inspiration.  Through manipulation of color, design, nuance and form, I strive to make the ordinary extraordinary.

I begin my paintings outside in nature. I initially scout for a location and subject which has meaning for me,  and then return to that site to paint. There, I am influenced by the all the elements. This affects my painting and the feeling I put into the paintings. Being at the site allows me to deeply experience the nature subject as I am painting it.  

I like to explore how humans affect nature and how nature lives in it's environments, with or without much human influence. Often, I am attracted to aged forms of life - old trees and vines or massive rocks have a kind knowledge beyond human understanding. And the delicate beauty of a wildflower and a field of grasses has equal allure.

My paintings are completed in the studio. At this point, I work from memory and feeling. As the work evolves, it sometimes changes from the original scene, taking on its own life. The painting eventually becomes a memory of my experience with the environment. There is a deep personal connection with each painting which always remains with me.

Contemporary realistic figurative, portrait, landscape and still life drawing and painting

       I say on canvas and paper what cannot be put into words. I paint what remains in the mind.