The work on this site is a sampling of several different bodies of work. Although most of the work on this site
is encaustic, I paint in both oil and encaustic, and enjoy the surfaces and qualities of each.

Several paintings selected are from a series that has connections to the work of El Greco. On a technical
level, I chose El Greco as an inspiration because of his use of real/unreal space and light. His work became
a departure point for me to widen my vocabulary of more abstracted imagery and marks.

The Number series started off in response especially to the drapery and skies in El Greco’s paintings.
I was drawn to those areas of his paintings because they seemed to convey most the underlying nuance
of his work. My interpretation of that visual subtext could be described in one word : Yearning.

The limited palette of the paintings in the Numbers series, compact size and the focus on reduction and removal were deliberately chosen to try to come to an understanding of what that undertone is. They are
made on a ground of layers of encaustic dusted with powdered graphite and clear encaustic medium.
That surface was then scratched into and/or evaporated with a torch.

Fifth Light, Candellier and Third Sphere have a direct link to El Greco also. The compositions of these
paintings were constructed piecemeal like a garment, by appropriating details of drapery from his
painting The Burial of the Count of Orgaz. These pieces were then collaged together to further abstract
and make new patterns. The edges of these sections were left visible to allude to a dressmaker’s pattern.

Gravity, Euclid and Verese are each parts of separate series of paintings loosely related to my location and experience of living in rural New Mexico.

Hold ties in with my figurative oil paintings. While I do sometimes use the full figure in these paintings,
I find myself more often drawn to highly cropped compositions. This cropping is intentionally done to
heighten or intensify the sense that the figures are being observed unaware. The tight cropping puts
the viewer in the position of having an incomplete or obstructed field of vision. It also forces the viewer
into the sometimes uncomfortable role of voyeur. The full figures are not in the picture frame; the
expressions are not visible; and other elements that could further illuminate the meaning are missing.
This is not meant simply to frustrate or puzzle the viewer but to act as a metaphor for how the intricacies
of a relationship are not fully evident to an outsider. It also serves to create an intimate, private space in
a world where nothing is private and little is kept secret long.