Selected Artist — Open Call 2026
About
Working artist for 35+ years, always pushing forward to new territory. Very interested in the way geometry resonates on different scales, from sub-atomic to the cosmological. Nature's mechanisms for building structures and pattern generation are key elements of my concern. Along with the forms that have evolved from my sources in high energy physics comes the addition of color theory and optical color perception. Geometry is the framework that carries my interest in the spatial and conceptual ordering of the physical world. Beyond the mathematics lies the emotional power of color and geometry together, two of the most fundamental experiences that we encounter at all scales.
A large influence in my development as an artist has been the collection of post-war American abstraction at the Buffalo AKG Museum (formerly Albright-Knox). I have been lucky to live within walking distance of the museum and its treasures for many years.
I have enjoyed a long career in painting, exhibiting consistently with numerous galleries across the USA and Canada. Currently represented in New York, Chicago, Fort Worth, Buffalo, Santa Fe, and Los Angeles.
Selected works
Conventional Dither, 2026, acrylic on wood, 46×46 in
Fuzzy Logic, 2025, acrylic on wood, 46×46 in
Hellzapoppin, 2026, acrylic on wood, 36×36 in
Jay Bird Junction, 2025, acrylic on wood, 66×60 in
Sassy Pink, 2024, acrylic on wood, 66×60 in
Shenanigan, 2023, acrylic on wood, 46×46 in
Q & A
Is geometry a constraint or a freedom for you — and has that answer ever changed?
Geometry is a freedom, its modularity presents a structure to operate within giving me innumerable choices with form and color. The interchangeability so easily facilitates experimentation.
Walk us through your process — where does a piece begin, and how do you know it's finished?
A painting begins with composing a color configuration with commercial paint chips (the common hardware store variety). It is then scaled up and worked in corresponding paint color, this forms the base layer. What follows is a grid of halftones using acrylic paint pens that unfolds in a rather unplanned manner. As precise as the paintings look, form and color decisions are relatively spontaneous during this stage. All the linear work is done freehand. The painting comes to a definite finish when the last line is added to complete the planned structure.
Is there something outside of art — a system, structure, or phenomenon — that quietly shapes how you think about form?
Fundamental physics, structures of matter on infinitesimal scales, Cosmology, Architecture, Textiles
What does a viewer miss when they see your work as 'just geometry'?
The emotional resonance of color and form. The historical and cultural associations that come with rhythm, sequence, and pattern.
