I paint on canvas usually with acrylics and sand. I use thick canvas, stretch my own paintings, paint the sides in a wrap-around/continuous manner, and choose a protective finish (Minwax Polycrylic) which is most often semi-gloss. Lately, I have been producing a series of unstretched canvases which are easier to transport and store.

Natural cycles as well as unknown forces often drive my art. Most of my paintings encompass a spiritual quality. These works are atmospheric and range from the extreme abstract to abstract with aspects of surrealism and pop art. Overall, I enjoy a blend of abstraction and representation. Extremes/dichotomies, energy fields, states of consciousness, glimpses of dream recollections, spirit animals, and disconnected relationships are popular topics of mine. I believe there exists a contemporary unnamed trend in art which I call, “Blue Flame.” The scientific properties of the blue of a flame opposing traditional social/psychological attributes of the color blue fascinate me. I refuse to elaborate on what “Blue Flame” insinuates. Rather, I’d like the viewer to decide to experience an emotional and/or scientific reaction to my art. Is it about love or mere temperature? Is the art about a feeling or feelings?

I love the way abstract art affects people differently. Although there is often a common or underlying emotion which is thematic and intentional, personal perspectives always intrigue me upon receiving feedback. How various shapes are constantly reforming according to the point of view of the onlooker, to form something unique keep the abstract alive for me. Someone sees a horse while another sees a bird. The raw nature of a stain flow is often open to interpretation, even if the artist provides a guided suggestion through paint manipulation. The unknown factor of the wet paint layer application and exactly how it will react with other paint layers and dry in a particular way evokes chaos. This true natural state of abstraction will always be included somewhere in my art since it reveals my love of the unknown and nonspecific. After all, the specific is constantly being rewritten. An uncomfortable state of flux is what I am ironically comfortable with developing. It isn’t a truly an uneasy experience. Yet there is a hint of discomfort which keeps painting challenging enough to continue pursuing.

I have sent several paintings all over the US for international and national juried exhibitions. My art has appeared in international publications (books and magazines), have won a couple of awards, and I recently participated in a Biennale in Italy. I have a BFA in Illustration from Rhode Island School of Design and a MFA in Painting from BU in IL. Despite the education, my abstract creations have a “raw” sense. One could call the art, Pseudo-Raw. Nobody teaches creativity or innate abilities. However, the discipline and focus of school structure particularly in graduate school positively influenced my life. Discovering strengths and weaknesses is important which I did in my undergraduate years and really developed my painting skills in the masters program. I always loved painting but became confused by my interest and abilities in other mediums. It wasn’t until I had jobs that weren’t going anywhere (in terms of future plans) that is when I discovered my passion for painting. I always knew I loved painting most but did try to fight the pursuit of being a fine artist due to shear statistics. I finally followed my will however and gave into the development of fine art painting and being an artist. The meaning of the word “artist” is relative especially concerning individual desires, economy, location, connections, and other factors. I am constantly challenging and altering my perceptions of the word, “artist” as the years accumulate. Stylistically, a blend of Abstract Expressionism, Pop, and a tad of Surrealism influence my artwork. Conclusively, I invite you, the viewer, to experience my paintings by looking for yourself and decide if it ignites a spark.

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