A Troubled Seeker, 2007, linocut, paper: 12 x 9 inches,

1/10, framed, $200 Connected, 2010, linocut, paper: 18 x 12 inches,

1/10, framed, $300

Displacement, 2010, linocut, paper: 12 x 9 inches, 4/5,

framed, $250 Knowledge Seeker Catching Butterflies, 2007,

linocut, paper: 12 x 9 inches, 2/10, framed, $250

Nonsense as a Warrior, 2012, intaglio and relief roll, paper: 9 x 5 inches, trial proof, framed, $300

Nonsense as Featherboat, 2012, intaglio and relief roll, paper: 9 x 5 inches, trial proof 2/4, framed,

$300

Nonsense as Scissorheads, 2012, intaglio and relief roll, paper: 9 x 5 inches, trial proof, framed, $300

Nonsense with a Manbird, 2012, intaglio and relief roll, paper: 9 x 5 inches, trial proof, framed, $300

Nonsense as Nest, 2012, intaglio and relief roll, paper:

9 x 5 inches, trial proof, framed, $300 Serious Stress, 2011, color woodcut, paper: 12 x 9

inches, 1/5, framed, $300

Ship of Fools, 2011, linocut, paper: 22 x 16 inches, 3/8, framed, $500

I strive to tell stories with my art, whether indirectly as metaphors or directly as narratives. Even a still life can

tell a story. My subjects may be dreamed, imagined, or experienced, as an autobiographical interpretation, but

those invented from my imagination are the most precious to me. Any person, place, time or thing can be a

source for inspiration allowing freedom and diversity of subject matter. Solving the problem of staying focused

is handled by working in series, pursuing an idea until it has been explored, drained and pushed to the limits of

my interest. It is difficult to say how many different images may come from a basic “idea.”

I admire drawing, and use the medium of intaglio (etching) printmaking and relief printmaking to create much of

my imagery. Many of my mentors: Rembrandt, Goya, Whistler, and Picasso all excelled as draftsmen and

etchers. The love of a strong graphic image and the craft to produce it can be clearly seen in their prints. I would

like to think I am proceeding in the same direction.

Coming from a math and science background, I am fascinated by the aesthetic beauty of mathematical

equations, graphs and symbols and this has led me to the most complex equation of all: the “Human” equation.

In an almost surreal way, I have begun combining and incorporating the human figure with these symbols. The

works are usually in an unexplained space where different scales and perspectives exist. The symbols represent

metaphors for knowledge and how this knowledge interacts with humanity.

Although I began as a painting in the mid 1970’s creating traditional landscapes, seascapes, and still-life work, it

was while attending Guilford College much later that I discovered my true voice as an artist. From 1990 till about

2012 I created hundreds of original prints and drawings/paintings (addressing the focus mentioned in the above

paragraph), as well as other noteworthy mini-series including: “Souls” (whimsical predicaments of human souls)

and “Tuscany” (interpretations from travels in Italy).

As I expand the "box" in which my imagination "plays," I have created images that I call "Nonsense" works,

whereby I find myself drifting more into the realm of fantasy and surreal art admiring the freedom and

imagination that surrounds the Ex Libris artists and their traditions as well as the Surrealists. These images

evoke a similar freedom to me, allowing creation without any restriction of content, simply going where my

imagination leads me. Consequently In 2012 I found myself drifting into predominantly surreal imagery based on

imagination, as well as returning to the medium of painting. I’m sure I will continue to create original prints, but

as I re-visit painting I have also found a renewed purpose and focus for this wonderful medium. I firmly believe

an artist’s signature will follow him no matter what medium he uses.