I like to work in the space between figuration and abstraction. As much as I dislike labels, the term biomorphic abstraction may come close to what you see when you look at my work. I use a lot of different primal shapes and forms that remind many of biological or botanical forms. It seems playful because may creative process involves a lot of literally playing around with shapes textures and colors. I thrive on the challenge of making them work together. I call my work sculptures, but they are also paintings on a variety of surfaces. I love form, space, and color with equal intensity.
There often appears to be a strong sexual reference to my work, but there is something deeper to the work than mere arousal. I draw from a lot of different sources that seep down into my creative well so that it is difficult to explain what exactly I’m trying to say as I am working. Much of it is an attempt to evoke the mystery and exhilaration of growth and change as well as the desire for and fear of union.
Viewers see many different things in my work and that’s fine with me.



Front and back views of my recent sculpture, Growth Spurt, currently on view in Clay Glass &Beyond, a group show at the Black Radish Gallery in Rochester, NY