Since 2019 I have produced a series of gouache and oil marker on paper drawings measuring 9” H x 12” W (or smaller). They share a similarity in size and medium, but I see the works developing organically, grouping themselves into a set of sub-series.

Currently these works on paper share an interest in spatial illusion, intricacy, geometry, cross-hatching, and implied movement. They are visually sophisticated, often playfully quirky, at times mildly psychedelic.

Generally, the drawings offer close up views of worlds filled with geometric forms that seem to reference things like architecture, landscape, pathways, outer space. Each seems to represent a unified world that follows its own internal logic. These worlds abide by the natural laws we know such as light, perspective (even if skewed), gravity (in terms of air vs. ground), flat and three-dimensional forms. They are neither purely abstract, nor strictly representational, but seem to hover some place between the two. Invariably there is a strong sense of implied movement within a designated space.



Sumptuous, intricate, ornamented, the oil paintings are richly referential — they call to mind a range of associations from mandalas, the cosmos, cells, lace, brocade and ore. I align myself with the long tradition of geometric and floral ornamentation the Far Eastern, Middle Eastern, and European craftsmen have long employed. They did so with the implicit understanding that pattern and repetition, which are endemic in nature, are primal in their rhythmic connection to the human nervous system.

I identify my work with the long tradition of visual artists interested in notions of cosmology. I am, as my friend the artist Thomas Lyon Mills says, painting worlds within worlds with the aim of revealing profound, contemplative, slow truths.