This extended series of paintings started from a simple brush-out of color on a scrap of linen. I was painting abstract nature landscapes at the time and the clarity and directness experienced in making the test strokes registered in my core as the direction that I wanted future paintings to follow since it was in fact establishing it’s own unique nature or existence.

Most of the compositions are based on small oil sketches that serve as source code for the larger formal paintings. Permutations and rotations of the source code sketches generate substantive material for the production of an interrelated series.  Other paintings are constructed in a subtle radial arrangement of rectangular color blocks or wide strokes, similar to paint store brushouts or drawdowns. The paintings remain in a state of flux for a period of observation, reflection and constant readjustment of the colors using glazes to achieve a statement of cohesive disagreement. 

The rectangular shaped elements that comprise the basic vocabulary of the paintings are intended to enhance a clear viewing of the color and are representational of subliminal realities of an organic hand shaped form.  They are not geometrically conceived or constructed. The linear texture and orthogonal weave of the linen support informs the brush and acts as a micro grid and directional guide for form of the color blocks.

The edges of the color blocks produce borders and boundaries that are inherent in the construction of the paintings.  The brushed areas of color are independent and unique. Often the individual color areas are blended to remove the trace of the application tools. This is a desired effect to maintain the borders or color transitions as a critical pictorial element. The chromatic shifts between colors can be abrupt or complementary yielding dynamic associations depending on viewing conditions and light levels

My primary interest is to create a series of Pure Paintings which develop from a directed focus and response to the support, pigments and tools. I am attempting to create paintings that are embedded with a familiar aura or mnemonic coding but are narrative neutral, self contained and free from reference to commercial, social or manufactured influences.

The Pure Paintings are scalable in any size with a 4:5 ratio.

Origin Painting

Origin Painting


Fifteen years after discontinuing the practice of architecture, building plans have drifted into my paintings.

Thickened lines representing walls and openings, enclosure of spaces and framing of light and views. The metrics of habitation and containment. Addressing the site and placement of buildings and ancillary structures.

Architectural plan elements complicate the effort to seek purity in the paintings. They produce a readable scalable event and a reference to dimensional habitable space. They assign a degree function to paintings which are resigned to being without purpose or actual usefulness.

The suggestion of building plans and site improvements in a non-objective painting directly violated the concept of abstraction in a real and symbolic fashion.

Meanwhile the elements of building plans have entered into my paintings possible as a reference to my previous profession or perhaps as nostalgia for a fading and disappearing mode of communication and construction. WTF.

These works are thinned oil paint on Arches Oil Prepared paper mounted on cradled panels. The sizes are mostly 12”x16” and 9”x12”.