My art is often inspired by images I encounter in my international travels. For my paintings, I use a variety of techniques, depending on what I am trying to achieve.  Some of my paintings are grounded in the classical techniques of the old masters, where I create a verdaccio underpainting before applying multiple layers of oil glazes. This process brings depth and richness to a painting. With each step, as the rich complexity of form, value, and color is shaped, and the image's essence is illuminated, I gain more understanding of, and develop a deeper relationship with, the painting.   In other paintings I use a direct painting or alla prima method.  Sometimes, I combine direct painting and glazing.  The nature of each painting defines the most appropriate method or combination of methods. 


In each of my works, whether painting or photography, I seek to capture a narrative, an instant in time that tells a larger story, a microcosm of an essential truth, whether it be a person engaged in an activity or with objects that reveal their essence, or excerpts from life that reveal a timeless quality, or exhibit a compelling pattern of color, form or composition.   I seek to draw the eye to an artistic congruence, to show an image or pattern or harmony that is universal, expressed uniquely.  This focus continues to attract my eye and center my artistic attention.


Art studies include intensive study at Studio Incamminati (Nelson Shank's atelier in Philadelphia), with Lea Wight, Stephen Early, Natalie Italiano, Leona Shanks, JaFang Lu, and Robin Frey; The Frank Covino Academy of Art; Smithsonian Institute (studies with Trinka Margua Simon); Washington Studio School in Georgetown; Sadie Valeri; and workshops with Mark Carder, Dominic Vignola, Timothy Tyler, David Gray, David Jamieson, James Sulkowski, Dan Nelson, Paul McCormick, Judy Crane, Rhonda Myers, and others; and a great deal of time spent in museums around the world. I have exhibited work in juried and non-juried shows.


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