As a contemporary artist, I observe a vital connection between what produces dreams and the creative process. The purpose of both is the same; to reveal some part of me that needs to speak. The problem is that dreams never make sense unless you write them down and ask the question, what was that about?” Maybe more importantly, what role does time play in revealing the meaning of its symbol. This mystery is the task of my work.

The unique content of my dreams belongs to me but the dynamism which drives a dream is common to everyone. Its this aspect that interests me and how time in dreams seems compressed that makes it potent. I use the working process similarly. However, past, present and future as aspects of time are expressed thru design elements of the picture plane as opposed to events encountered in dreams. Compositions then are driven by collaboration with all facets of the psyche: feeling, impulse, intuition, and my years of experience as an artist. I'm always searching for interesting moments to preserve even at the cost of appearing child like. Once finished, titles for works are selected as interpretive sign posts or a summary to invite the viewer in.
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​Like dreams, the creative process is for me, filled with potential. Its tactile element provides intimate contact with the complexities and musings of life where I am often confronted with more questions than answers. This undertaking connects me to something much bigger than myself and ultimately, what good are dreams if I don’t share them?

My thought is multifaceted. I am influenced by mythology, psychology, and religion. The works of Joseph Cambell, C. G. Jung, and both organized and tribal religious traditions are important to me. While I have spent a good portion of my career exploering classical figure sculpture, the evocative nature of Abstract Expressionism is important to me now, particularly the New York School of the mid twentieth century.
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