I’ve always found something mysterious, romantic and nostalgic about the power of machines and industry, and find myself drawn to the hidden abstract patterns, random shapes and aesthetic tensions I see in manufactured objects – particularly within the confines of industrial structures, machinery, and vehicles.
My influences were the artists of a generation or two before—Charles Sheeler, George Bellows, Edward Hopper, Reginald Marsh, Thomas Hart Benton; and photographers like Paul Strand, Richard Avedon and Irving Penn.  And then, when photorealism and the west-coast artists first came on the scene in the mid 60’s and early 70’s, I was immediately drawn to the work of Richard Estes, Robert Cottingham, Wayne Thiebault, Richard Diebenkorn, and others who could—within the confines of a two-dimensional plane—tell a compelling story about their time and society; things I seem to relate to.  But, while acknowledging my predecessors, I’m certainly not trying to imitate them. Although their influence is sometimes noticeable in my work, I strive to create art that is unique and interesting enough to make its own statement.
Although I paint in a realistic style, my focus isn’t necessarily on copying the information in a photograph or the precise rendering of objects, but rather on conveying the abstract information created by – and within – those objects.  I ask viewers to share a journey of discovery with me and hope they’ll become as excited and fascinated and moved as I am about the beauty that can be found in what’s often taken for commonplace and mundane.
In this way, I define my works as abstract compositions nested in the guise of realism, and I use this as criteria that informs my choices of what to paint.

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