1818 Newkirk Ave. #3T
Brooklyn, NY. 11226
Born: Boston MA. 1953
2008 Nut Roaster Studio, Brooklyn NY, solo exhibit.
2006 ‘Temporary Museum of Painting, Brooklyn NY, group exhibit.
2005 Makor Gallery, NY. NY. "Neurotic Visionaries and Paranoid Jews", group exhibit.
2004 TheTateChelsea.com, on-line web page.
2004 Sam Shaw Gallery, Northeast Harbor, ME. group exhibit.
2003 Museum Editions, NY. NY. group exhibit.
2003 www.art4love.com, on-line web page.
2003 www.gallerythe.org, on-line web page.
2006-1991 Wingspread Gallery, Northeast Harbor, ME., group exhibitions.
2001 Indiana State University Art Gallery, Terre Haute, IN. "Timely Expressions", group exhibit.
2000 Children's Museum of the Arts, NY. NY. group exhibit.
2000 Red River Museum, Vernon TX. "Timely Expressions", group exhibit.
2000 Malca Fine Art, NY. NY. Group exhibit.
2000 Four Star Gallery, Indianapolis, IN., group exhibit.
1998 450 Broadway Gallery, NY. NY. "Blind Date" Group exhibit, curated by Eliot Markell.
1998 450 Broadway Gallery, NY. NY. "SYNCHRONOUS REALMS/painting in concert",
curated by Eliot Markell
1995 Ronald Feldman Gallery, NY. NY., "Other Rooms", group exhibit.
1995 C.A.G.E. Gallery, Cincinnati OH., two person exhibit.
1994 Rotunda Gallery, Brooklyn, NY., Brooklyn Academy of Music, benefit group exhibit.
1994 Crosby Street Gallery, NY. NY., "Abstract Visions", curated by Eliot Markell.
1992 Germans Van Eck Gallery, NY.NY., group exhibit.
1988 Corporate Art Directions, NY. NY., group exhibit.
1987 Judy Leighton Gallery, Blue Hill, ME., group exhibit.
1976 Copley Society of Art, Boston, MA., group exhibit.
2005 "Seeing Things", catalog essay by Stephen Maine
1998 "View From Keewaydin", Seal Harbor, ME., watercolor and oil pastel painting on paper.
1979-80 Empire State College, SUNY., BPS. fine arts.
1973-74 Gandy Brodie School of Fine Arts, Newfane, VT.
1971-73 Mark Hopkins College, Brattleboro, VT.
Artist Statement, 2009
My art improvises on fundamental properties of nature; by embracing the landscape and delving into scientific inquiry.
My work about conventional time/space encompasses scenes of semi-abstracted landscape, while my "energy" paintings extend into visceral, yet metaphorical realms inspired by concepts such as the multi-dimensional vibrations of string theory.
The fruition of the Beach Rope & Driftwood sculpture pieces result not only from shorefront strolls on rocky beaches in Maine (the best selection of rope due to myriad lobster trap gear), the North Fork, Montauk and the Dominican Republic, but from a desire to branch out (excuse the pun) from painting.
It dawned on me that the multi-hued tangles of knotted beach rope could be cleaned, sorted and applied to driftwood in a congruent manner. The laborious process of wrapping, gluing and stapling satisfy a fundamental urge to physically assemble a combination of man-made and natural detritus. The variety of beach rope's weathered palette, layered onto lengths of driftwood compliment my painted images chromatically, and refer to African and outsider sources. These rough hewn sculptures suggest an implicit virility rooted in figurative association.
My recent panel paintings incorporate a stencil technique wherein I apply masking tape to the surface of the panel and carve out forms that I paint into or around. I frequently use palette knives to spread paint out into a transparent film to work into or over the stenciled surface. These stenciled "inlays" combine with my freehand painterly style to create a playful compositional dichotomy.
My "energy" paintings are completely interpretative. I employ unencumbered, abstract gestures intuited from quantum theory and cosmological phenomenon. These paintings also incorporate an esoteric approach to the depiction of an elastic pulsation inherent in my art.
The strong physical presence of these passages belies a subtle notion of sub-visual suggestion; that upon a lingering gaze form and color mutate, to unveil underlying properties. This transcendent quality could be described as a "spiritual" concept, but I strive for an open-ended, empirical secularism in my art that has lead to free thinking and the expansive exploration of my full creative potential.
The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper and panel. Done mostly in and around Acadia National Park in Maine, these pieces are immersed in the immediacy of atmospheric effect, the oceanic tableau, and rugged rocky coastline.
This intimacy with nature has invigorated and informed my studio oil paintings. Although the plein air works tend to be more traditionally representational, the paintings more muscular picture plane distill the representation of nature into an elemental yet ethereal montage.
1818 Newkirk Ave 3T
Brooklyn NY 11226
c 917 674 4382
h 718 421 1544