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.
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.