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 Paintings (Oils): 2019-2010

Division of Work: Paintings and works on paper, which were previously bundled together, are now on separate pages. My tardiness in breaking them apart has more to do with slow output than divisions in my thinking. I strongly urge those viewing my paintings to also look at a few works on paper, as these multimedia works more intimately reflect my creative thought process. Completed paintings tend to erase the footprints leading to them.

These paintings are generally small. Nothing here is larger than 16” by 20”. Detail ties these pieces together, although how I apply detail is evolving over time: Foreground objects are becoming less ornate, while backgrounds (landscapes) are increasing in density. (More notes pertaining to painting may be found below.)

Nancy Binary

Nancy Binary  11" x 14" oil on panel


Bridal Spore

Pinocchio’s Time Share  16" x 20" oil on canvas


Bridal Spore

Bridal Spore  9" x 12" oil on canvas


Clandestine Chowder

Clandestine Chowder  9" x 12" oil on canvas


Moth of Mid-Month

Moth of Mid-Month  16" x 20" oil on canvas


Land Mass At Variance

Land Mass At Variance  9" x 12" oil on canvas


Wheals of Saunter

Wheals of Saunter  9" x 12" oil on canvas


Eponymous Gallstone

Eponymous Gallstone  9" x 12" oil on canvas


Eel Conceived Of Women

Eel Conceived of Women  12" x 12" oil on canvas


Realism versus Personal Reality: We are living in a golden age of photorealism, although many current proficients are not as candid about their sources as those who initiated the approach in the late 70s and early 80s. I dabbled in photorealism at the beginning of my education, and still incorporate aspects of it here and there. Personally, I will always prefer working from real-life or imaginary objects, since both binocular vision and the imagination force one to blend (interpret) perspectives. A camera is monocular, and flattens everything by definition, making the photo-reductive taint hard to cast off.

I have allowed my works to be categorized as “low-brow” or “pop surrealism” for the sake of convenience and expediency, much in the way Picasso allowed himself to be categorized as a surrealist when he exhibited with those who self-identified as surrealists. Labels are arbitrary things, and sensibility and style change over time, regardless where Art History chooses to place one in its Canon.

Pillow Shams of Sobriety

Pillow Shams of Sobriety  11" x 14" oil on canvas


Fruited Bodies

Fruited Bodies  9" x 12" oil on canvas


Aspic and Its Aspect

Aspic and Its Aspect  9" x 12" oil on canvas


Gummy Shards

Gummy Shards 16" x 20" oil on canvas


Alloys and Alliances

Alloys and Alliances 9" x 12" oil on canvas


Animus of Treacle

Animus of Treacle 18" x 12" oil on canvas (diptych)


 Landscape Motifs (Oils)

Laurels versus Risk-Taking: There comes a point in one’s output where proficiency is reached and one borders on becoming a mere stylist of one’s better efforts, or worst, a parodist. The formula may be winning, but it resembles masturbation if it goes too long with little time being set aside to reflect on the course of the work. I do not claim virtue in these areas, yet I escape the dilemma by leaving my work for periods of time before resuming it. Employing a variety of media is another way of jarring one’s imagination out of ruts, since each media entails inherent limitations in what can be done within it. These limitations present challenges and calls one’s resourcefulness into action.

Forest of Sorrows

Forests of Sorrows  8" x 8" oil on canvas


Dormant Landscape

Dormant Landscape 8" x 8" oil on canvas


Gloaming Cove

Gloaming Cove  8" x 8" oil on canvas

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