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I grew up in NYC on Roosevelt Island and have lived in nearby Queens since the late 1990's. My field of study was in stage design but transformed my career to be that of a fine artist. After years of lighting plays and painting scenery in the trenches of Off Broadway, I cared more for my 35mm stills and picked up from promising work begun in my teens.

The subsequent decade produced an esteemed portfolio which took me on several adventures across America, and abroad, accompanied by either girlfriend, actors or jazz musicians. Exhausted and penniless, I decided to stop photographing altogether and moved up to the front burner painting concepts sketched out while idle in hotels and airports.

Back home, I held several positions as a 'teaching artist' in scholastic institutions throughout the city. In 2008 I founded an art program for adults with developmental disabilities. As time passed I became affected by students’ methodologies and in turn began to rethink my own perceptions and struggles as a painter. So, given that one facility had ample space and mere blocks from my Apt., I surreptitiously began tinkering in my off hours resulting in a four yearlong series of ten paintings entitled SLABS: Freely carved and thickly painted recycled wood panels of equal dimension. Since completion, the pieces have been regularly placed in exhibition and as of late last year developed five new smaller pieces made possible by short term residencies at Topaz Arts in Queens.



As a painter I work unwittingly opposite against a crisp photographic viewpoint resulting in reactionary arrays of color and reliance on rudimentary forms; elemental materials weathered and decayed outlined with an artificial vibrancy.

My method is improvisational with little forethought to conclusion rather riding a wave of openness during each stage of fabrication. Surface preparation is somewhat ceremonial as I randomly gouge out trenches or divots replacing the removed material with a plaster based amalgam. Once hardened, that too becomes eroded and painted. The remaining flat wooden planes are painted or stained similarly then sequentially sealed, masked and painted over in floating repetitious layers of playful dominant conglomerations of color.

Someone described my work as "epidermal landscapes" for there certainly is liveliness to these seemingly microscopic slices of larger biological or molecular structures. The series entitled SLABS consists of ten uniformed sized paintings plus one larger prequel bridging the evolutionary gap. Numbers seven and eight morphed from pure abstraction into something floral like whereas nine and ten became erratic post parenthood. Current paintings are refined: smaller, manageable with three produced in 2016, plus two new panels near finality.