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I grew up in NYC on Roosevelt Island and have lived in nearby Queens since the late '90s. Professional development in the arts began during my teens but am a relative freshman as a fine art painter having debuted my first series of cohesive works in 2012; snowballing a group exhibition history hence forth in Manhattan, Bushwick, and Long Island City.

Up until 2011 my portfolio consisted of either representational lighting for stage plays or 35mm photography of a scattered subject matter. I toured America several times over with actors and Jazz musicians which pushed my point of view towards candid and street portraiture, the abundance of which became overwhelming so I simply stopped. On the flip side, my painting skills were kept sharp as I regularly freelanced as a scenic artisan Off Broadway including filling up many a sketch book while idle in hotels and airports.

The origins of the presented works and newfound deviating painting style came about while running an art program for adults with developmental disabilities in facilities throughout the city including one particular program, located mere blocks from my apartment, which ultimately became the factory for my contemporary works. A decade earlier I had dabbled in the same industrial materials used in my modern paintings but only managed to produce a handful of pieces in a linear mosaic style then put the concept to rest. 

Picking up a few years afterward with fresh eyes and experiences working with this individual population; where, over time, I discovered myself to have more creative similarities with my students than differences. Using my previous studies as reference I tapped into my students’ methods of fearlessness and innate abstract expressionist motivation and covertly set up shop in my section during off hours. Yet another long passage of time gave birth to ten large recycled plywood panels entitled SLABS with another five smaller pieces recently added to the inventory thanks to residencies granted by my friendly neighborhood gallery, Topaz Arts.



As a painter I work unwittingly opposite against a crisp photographic viewpoint resulting in reactionary arrays of color and reliance on rudimentary forms; elemental materials weathered and decayed outlined with an artificial vibrancy.

My method is improvisational with little forethought to conclusion rather riding a wave of openness during each stage of fabrication. Surface preparation is somewhat ceremonial as I randomly gouge out trenches or divots replacing the removed material with a plaster based amalgam. Once hardened, that too becomes eroded and painted. The remaining flat wooden planes are painted or stained similarly then sequentially sealed, masked and painted over in floating repetitious layers of playful dominant conglomerations of color.

Someone described my work as "epidermal landscapes" for there certainly is liveliness to these seemingly microscopic slices of larger biological or molecular structures. The series entitled SLABS consists of ten uniformed sized paintings plus one larger prequel bridging the evolutionary gap. Numbers seven and eight morphed from pure abstraction into something floral like whereas nine and ten became erratic post parenthood. Current paintings are refined: smaller, manageable with three produced in 2016, plus two new panels near finality.