The drawings in this series share an interest in spatial illusion, intricacy, geometry, cross-hatching and implied movement. They are often playfully quirky, at times mildly psychedelic. They offer close up views of worlds that seem to reference things like architecture, landscape, pathways, outer space. Each represents a unified world with its own internal logic that abides by the natural laws we recognize, such as the existence of light, perspective (even if skewed), gravity (air vs. ground), flat vs. 3-D. They are neither purely abstract, nor strictly representational, but hover somewhere between the two. Generally there is a strong sense of implied movement stilled in space.

I think about time almost all the time. Our experience of time rules our lives; it is possibly our most precious resource. I am fascinated by Albert Einstein’s contention that time — as we perceive it — is an illusion. I consider this group of work as playful variations, imaginative visual speculations that call attention to the enduring magic, the eternal mystery of the space-time continuum in which we exist.



Sumptuous, intricate, ornamented, these oil paintings are richly referential — they call to mind a range of associations from mandalas, the cosmos, cells, lace, brocade and more. I feel aligned with the long history 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.