The first bronze casting of Reflecting is here. Awarded 3rd place for sculpture in the Reflections 2012 show at the Rowayton Arts Center. The edition will be limited to 30 at the most, that’s if the mold lasts that long. It’s been a tremendous challenge, first … Continue reading
Here is my October 2012 presentation at the Ridgefield Guild of Artists walk-&-talk, edited for clarity. Click on any image for a closer look. Collateral Damage (above), is based on a concept I call The Burning Garden, which originated with a … Continue reading
These paintings are created by layering and scraping back the encaustic medium and paints. I often start with gestural mark making. These marks get hidden, modified, revealed – sometimes because they seem too revealing, more often because they spark other … Continue reading
A fragile little assemblage of pigmented wax. Balance and movement led to something that seems like a figure – although far from human anatomy. Continue reading
The luscious wax surface doesn’t really want the dusty and dry pastel to sully it. But with the encouragement of just a little heat and the softest of pastels it can be convinced. An extension of the intimacy of my … Continue reading
This work has taken a turn toward landscape, or is it sea or space, still in a mythic time and place. I’ve started shaping the canvas to emphasize an artificial perspective. This is a case of a circular development, with … Continue reading
Point-of-view is everything. Three views of an assemblage (now destroyed) created from the detritus of my painting process. The photos reveal what was not planned or seen as I fitted it all together. Like reading tea leaves, figures and animals … Continue reading
What defines this series for me is that the viewer is given an open ended image rich with possible interpretations, and more than a few bits of stuff that might look like emerging creatures or some cosmological event. This creates … Continue reading
This collection of pastel drawings are among the most intimate works I’ve done. Done in a very introspective way, channeling my emotional state in the moment I did them.
Here are a few my early encaustics experimenting with different techniques and subjects. The photo in the collage was taken by my father – it’s me, my sister, and the cat Checkers.
I’ve been calling this graphite study “Light from Above” since it has been stimulating all sorts of environmental sculpture ideas on that concept.
Encaustic painting (hot wax painting) is one of the oldest known painting techniques. The simplest hot wax painting is a combination of beeswax and pigment, melted and applied with a pallet knife or brush. There are often additions of Damar … Continue reading