My fascination with the natural world and its laws, forces, patterns, and phenomena has long been a driving force in my life. I have pursued it academically in research science, artistically in painting and sculpture, casually in nonfiction reading and in natural observation, and professionally in chemical and biotech patent law. My years of formal and informal study provide me with a lens through which I view the world; I cannot see shapes and patterns in nature without considering the forces from which they resulted, or without noting ratios and patterns universal to living and non-living things. This fascination informs the subject matter of my paintings as well as the process. I create paintings on a horizontal plane, building up rich semi-transparent surfaces over weeks or months by pouring, dripping and brushing on layers of acrylic paint and ink mixtures. Each layer is primarily acrylic medium with very little pigment, and the successive layering results in paintings with a luminous watery depth. I mix and layer different acrylic mediums, each having their own unique properties affecting opacity, reflectiveness, texture, and flexibility. Wet acrylic mediums are also bluish and opaque, not showing their true color and final transparency until dried. Each layer is an experiment, frequently yielding unexpected colors, textures, and optical properties. Unanticipated results direct the evolution of my paintings. The process results in paintings that mimic the effect of looking down through a microscope or studying the earth and water at your feet rather than at the horizon. Universal patterns, shapes, ratios, and life processes seen at the micro and macroscopic levels are depicted, and the abstract pieces evoke images of microscopic life, underwater landscapes, and biological growth and reproduction. The paintings reward a closer look with intricate textures, colors and light. Through the process as well as in the finished painting, I recreate my feeling of spending hours contemplating the shape of life under the microscope and the intricate colors and patterns of natural formations under my feet.

This year I've been developing a series of recycled globes which I'm thrilled to preview.------

I'll also be showing several of my paintings with silver and copper leaf.-----

The power of color has been a life long passion. I am influenced and inspired by the surrealist, minimalist and colorfield painters, among others. Some of these qualities and questions they brought up tend to appear in my own new body of explorative works. My intent is to develop an abstract visual vocabulary with images using an innate sense of relationships which take the viewer to both somewhere new and somewhere in the subconscious at the same time.-----

The addition copper and silver leaf recently added to my paintings adds a fluid element as light changes from different vantage points. Those tonal changes then play with varying qualities of the rich under-painting.

My work search for visual clues, metaphors and states of grace that might illuminate how the world of solid surfaces can exist alongside or within the ever-present backdrop of impermanence and change. My intention is to open a window, at least for a moment, where the static experience of a single view gives way to the ecstatic possibilities of the ephemeral. 

Self Portrait Series:  I collaborate with forces inside and outside the studio to make images that explore my own shifting understanding of “the self”.  In the past I have worked with rain and wind and a seasonal leak in the studio. My one rule: never force, always coax these collaborations into being.  More recently, I have been working with dust and debris from my studio floor. Each portrait represents the accumulation of dust from one particular day.  I cut a stencil and use a spray adhesive on mylar to collect the dust and to cast a shadow into each image.  

Old Is New Series: These sculptures are made from a series of paintings that I completed in 2005. Each sculpture is assembled from one painting in the series. The original series was inspired by building facades in and around the city of San Francisco. The powerful act of ripping a finished painting combined with the meditative act of sewing and mending created a new understanding of form and change.

The provocative use of space has always been of interest to me whether it be found in architecture, graphics, landscape design or paintings. My recent body of work encompasses my observations of the landscape, especially the sculptural display I find in the winter months. Through these paintings, I've explored the spacial relationships between the positive and negative areas and have tried to create a feeling of depth by using many layers of transparent glazes. The resulting artworks are explorations of a 3 dimensional sense of space on a flat surface.

I work full time as a freelance artist and illustrator for folks like The New Yorker and the SF Jazz Festival. My subjects are the things I'm passionate about-people, music, movies, sports, dogs, politics.

My art explores the way in which we engage with our surroundings and the possible consequences our actions have upon the world in which we live. Through my work I attempt to question the rationale of our choices, and try to reveal the dichotomy that may exist between what we desire and what we manifest. Recently my work has focused upon the mechanisms that power our society and examines how they may influence the construct for a possible future.