fine art

paintings, prints, drawings


my first watercolor

While learning to paint in art school, the craft and skills we were learning were often used to portray simple subject matter and/or and studio junk. As such, there are few paintings worthy of showing from that time. There were a couple that had some merit, however. A few of those that dealt with the human figure or products of the imagination were successful enough to keep.

Art school was often a love/hate experience, due to the lack of visual subject matter, and rudimentary life experiences to use as inspiration. Instead, while I spent those years pontificating philosophy and science, my art teachers were covering the basics of negative space, contour drawing, line, light and color theory. Luckily, I was able to absorb some of the lessons. Through the years, I have been fortunate to apply much of what I learned to illustrations, animation and design. If I could go back to art school, I’d do so in a ‘New York Minute’.

These days, and for the past few years, my paintings have been of mostly personal subject matter. Family has been front and center, and many of my paintings reflect that fact. For a few years, while my dad had horses, I was able to study and visualize a few paintings of them. Other themes in my works are from traveling. I have painted a number of churches and statuary. I work mostly in acrylic these days, as my children do not mix well with canvases that need time to dry. Although I have dabbled with watercolors from time to time.


CityScape Intagio - 7” x 12”

While in college, my studies drew me in to printmaking as a major. This wasn’t necessarily due to any great passion toward the craft, but rather grew from a love of the process of each of the techniques. It allowed me to spend long periods of time on singular works, but also the option of making more than one of them.

The CSU (Colorado State University) printmaking professors at the time were products of the Chicago school of printmaking and taught many different techniques. This allowed some freedom in subject matter choice and output, but was somewhat limiting because they were looking for a specific “type” of art/artist. Be that as it may, there were entire semesters that I worked on a single piece - and there were others where I created hundreds of small works. I was more in tune with creating single works, as they stood more on the merit of a painting or drawing. Despite having the option to do multiple pressings, most of my favorite works from that time were either a small run, or a single “A/P” or artist proof.

While dabbling with Intaglio and Lithography, I gravitated toward reductive processes instead and chose to work with Lino Cuts or Wood Cuts when I ran out of money. This also allowed for use with multiple colors and relief.

Lack of access to a studio space conducive to printmaking has made recent works limited and rare. Most of what you see here are from the years of 1992-1995. Like many of my drawings from that time, the size of the pieces are fairly large. For example, the Lino cuts below (Solemnity & Ribbage) are approximately 4’ wide.