Wherever possible, I use the finest materials for their handling qualities, presence, and permanence.

I idealize the things I find most appealing.

Utilizing models of people and things real or imagined, I often concentrate on the articulate possibilities of line.
This can be an excercise in lyricism.

Often the images have a female likeness - Using the feminine persona allows me a freedom not attainable by other means.

Even the intimacy of portraiture gives way to the mystique of archetypes.

My experiences, influences, and unorthodox training have allowed me to work in a completely natural, but formal and spiritually significant manner. In entering the "spirit" or mindfulness of sincere classical art, I experience a mode of human communication that is rich in substance, unfeigned in its display, noble in its pursuit, holistic in its effect, and perennial in its pleasure. This is not the product of nostalgia, asceticism or the opposites of these. This kind of perception is without chronological boundaries. I do all of this while trying to be aware of art and its simultaneous poetic, psychological, philosophical, and decorative functions.

The artistic license offered by the ancient mind is instrumental in surmounting the creative restriction of contemporary life.

Ideally, I'd like to delight and inspire the viewer, using the art as a suggestion, of the wider implications of this kind of seeing.

Humbly, I respond to what is most pleasant to me, and I would hope to indulge the viewer in this mystery.