Within a year of graduating from art school, i landed a job as an Artist in Residence that lasted for two years. It was a low paying, government funded project, where no real significant or lasting public works were produced, but i formed lasting relationships with musicians, writers and other visual artists. If it were not for being thrust into this creative environment with serious working artists, i may not have continued to paint.

For years i supported my art by bartending and i traveled. i spent a year on a remote island off the coast of Maine, two years in the Caribbean, and several months in a small English village. Painting all along the way.

As a young art student in Boston in the seventies, i may have had some aspirations to make "important works" but what i am, is a painter of the mundane, an observer of nature and light, and a recorder of the beauty that one witnesses in every day life.

If one of my paintings brings to attention, the sheer loveliness of a cast shadow on a yellow building, or the total sexiness of the late afternoon light turning the red hills of Bisbee a deep crimson, then i feel i have been successful.

My figurative work comes from a long time fascination with old family snapshots. About twenty years ago, as a diversion from the city/landscape work, i started looking at my old family albums as a source for subject matter. i became completely engrossed with these mysterious black and white images. This obsession extended to pictures of people from all kinds of sources, and it was the sameness in these countless recordings of friends and family, that intrigued me. Posed, unaware, professional or amateur there is an essence there, that transcends time and place that is universal and mysterious and i could spend several lifetimes, trying to capture that in paint.