I am involved with the precarious balancing of realistic and abstract expression. When successful, they intensify each other, the one drawing you into its illusion of depth, weight, and the raw grace of human form; the other making you dramatically aware of the process of paint and drawing materials being moved about on a two-dimensional surface.
The classical training I received at the Boston Museum School was based on the precept that good drawing is the basis of all art; hence, drawing every day. Learning the traditions and techniques of the masters – anatomy and perspective; the grinding of our own pigments; preparing rabbit-skin glue, gesso and old painting mediums; stretching, sizing, and priming of canvas; laying of gold leaf; fresco painting – contributed to my love for the traditions of the past, and simultaneously, a struggle to break away from them.
Raw edges, the feeling of life and process which exist in an unfinished study; the use of space in which the silence – that which is left unspoken – is allowed to manifest itself as articulately as the completed image – these have become basic elements of my work. The medium and techniques used vary, but most of my work itself deals with the abstract essence of the human form and with its poetic interpretation.