The Methodology of Picture Making

"The contemporary visual artist must render compositions without a specific narrative in order to envoke the viewer's own imagination"

Growing up in rural Connecticut I was surrounded by the visual arts. My father's vocation as an illustrator and instructor provided me with ample amounts of materials and learning resources. Illustration, cartooning, and narrative forms of picture-making were preoccupations throughout my youth.

While attending the Pratt Institute in New York City I was exposed to contemporary painting and sculpture. I enrolled in a mentorship program in my senior year and studied with the minimalist sculptor Carl Andre. For Andre, sculpture was about place not structure or form. His works were directly executed in reaction to their surrounding environment and were not suggestive of any literal subject. They were very much born from necessity and available resources. However, the result was visually and physically profound because of the uncontrived placement, clear intent and the aesthetic of the materials.

This methodology significantly impacted my approach to picture-making as I needed to develop a process void of rendering a literal subject so that more intuitive, subconscious, and uncontrived imagery could evolve.

Over many years and out of necessity, I developed a visual language that would allow for the modulation of any 2-dimensional space. This became a cathartic process of drawing with paint. This methodology allows for relationships to occur between imagery on the page without the constraints of a specific narrative relationship to other images in the composition.

If the painting maintains an aesthetic structure that provides an intuitive path through the composition then the viewer will engage with the painting on a more personal level and bring their own interpretation and perspective to the work.

This is not freedom for the painter. The unspecific or ambiguous imagery can not be implemented at the expense of cohesiveness and coherence in the composition. The painter’s effort should achieve a balance between ambiguity and clarity, using the former to spark the viewer’s imagination and the latter to provide aesthetic structure.


2023 - " Visual Language & Catharsis" - Reeves Art & Design, Houston, TX


2012 - " Entangled Complexities" - GEORGETOWN ARTS & CULTURAL CENTER - Georgetown, CT

2012 - " CURRENTS" - The Edward Hopper House - Nyack, NY

2010 - "EKFRESES" - Lift Trucks Gallery -Croton Falls, NY

2009 - "From-the-Factory-Floor" - Lift Trucks Gallery -Croton Falls, NY

2005 - "Tri-State Juried Exhibition". Katonah Museum of Art, Katonah, N.Y. 

2002 - "Prevailing Human Spirit, The 9/11 Exhibition". Society of Illustrators NYC. 

2001 - "Take Heart", MPI 49 West 23rd St. NYC. 

1999 - Aquent Partners "Digital Meets Traditional", Norwalk, CT. 

1991 - Gallery Sareido, 382 West Broadway, New York, NY. 

1983 - Small Walls Gallery, New York, NY. 

1981 - "9th Street Survival Show", New York, NY.




2014 - THE DRIVE-BY GALLERY - Croton Falls, NY 

2014 - RUN MAN RUN - Lift Trucks Gallery - Croton Falls, NY

2003 - Salisbury Art Center, Salisbury, CT

1992 - McKensie & Company, Amenia, New York. 

1978 - Valsamos Gallery, Brooklyn, NY. 



2018 - Establishes (Present) studio in Houston, Texas

2000 - Establishes studio in Ridgefield, Connecticut. 

1994 - Establishes studio in Purdy's, New York. 

1984 - Establishes and manages artists' studio in Jersey City, New Jersey.

1978 - BFA in Sculpture and Design from Pratt Institute, Brooklyn, New York, Senior year mentorship with minimalist sculptor Carl Andre. 

1952 - Born, New Milford, Connecticut.

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