There is no must in art because art is free. - Wassily Kandinsky
Born in Kansas City and raised in the Middle West and California, I studied Indology—including Indian art—at Penn and Berkeley and have lived and worked in several countries, since 1984 in Germany. I like to create very colourful abstract and semi-abstract paintings which excite the senses and—because of their ambiguity—challenge one’s perceptual structures. This often involves juxtaposition of the linear with the painterly, the deliberate with the intuitive and the accidental with the natural. The pictures should speak for themselves—and they should turn me on.
My emphasis on color, I think, is partly due to the influence of painters such as Lichtenstein, Wesselmann, Hockney, Twombley, Zuniak, Richter and Basquiat, as well as the color theory of Max Lüscher and the lively colors of India.
I have found ideas for my way of work from countless exhibitions, but in particular from a Klee exhibition in Stuttgart in the mid-nineties showing works which he had made by cutting up small paintings and drawings and creating new ones from the parts. For awhile I used the same procedure by combining parts of old paintings into new collage-like forms. However, I didn’t cut up the works themselves like Klee, but rather small photos of them which I combined into little pictures set in a paper frame to be used as maquettes (e.g., 10 x 11 cm) for large acrylic paintings of the same proportions (e.g., 100 x 110 cm).
In a further development I would scan photos of my paintings into the computer, cut them digitally and manipulate them using various programs. The end product would then be printed out in miniature form to serve as a model for a painting. Thus, although I do make occasional spontaneous changes in the execution, the creative part of my work lies mainly in the working out of the maquette. However, I make dozens of maquettes before finding the one which I feel is worthy of being used.