I often imagine a scene that has no real world possibility and then sketch the concept, translating inner-world ideas into outer-world images. The hummingbirds look so determined to complete their task. It's real, but it's not. This qualifies as surreal, I suppose.
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A man and a woman, together in a place or situation so right for them they never want to leave. This painting is a question. Why leave something that’s perfect? Once they leave, there can be no going back. This is about love, warmth, connection, togetherness, and the desire to continue to embrace these feelings, once gone, gone.
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Author Julian Jaynes wrote that humans became self-aware about 3000 years ago. If humans could develop self-awareness, why not animals? Why not rhinos? The universe has plenty of time. This painting is about the moment the rhino becomes aware of its mortality, triggered by the sight of a skull of its own kind.
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An imagination game where I think of archeologists unearthing ancient bottles filled with plastic flowers. Perhaps the words inscribed on the ledge hold the answer, if they’re words at all.

A pun painting. I modified rollers with scissors and rubber bands and used them to make the water, then drew various shark images with almost identical proportions. These drawings were done on film that I used to make a template of each shark. The result is colorful cookie cutter sharks.
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I love painting objects that usually have no real world business being in the same plane. This evokes ideas that otherwise would never have been born. It’s the butterfly effect taken to one of an infinite number of conclusions.
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Two animals, one real, one mythical, that exist only in my imagination. If I had been a passenger on the Beagle, this could have been the view from my room.

I like the works of Keith Haring, his way of reducing an image to it's most fundamental, but recognizable, form. His painting, Untitled 1983, contributed to my idea for this work. The lightning bolt was added as a counterpoint to the breaching fish. It’s similar to the bolt of lightning Elvis used on the vertical stabilizer of his jet, the Lisa Marie.
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When caught in the act of drinking from the bowl. my cats are alarmed, as if they've been busted. This painting captures that moment, the claico cat serving as lookout while the black cat takes his turn. I wanted the perspective to be flat, to feel like the moment the flashbulb goes off. Mr. Meanor, the black cat in the painting especially loved to visit this local watering hole.

This painting is like a visual version of a jazz ensemble. The repeating shapes and images are the percussion, each color kicks in like a different instrument, the calligraphy is a fluid, improvised solo. It also brings together themes from some of my other paintings.
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There’s a saying that if you were smaller, and your cat much bigger, your cat would eat you. The idea is that those with more talent, intelligence, creativity, strength, etc. especially when they’re combined, will have a formidable edge. This is me painting what my imagination sees.
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I used a photograph that my daughter took while visiting Egypt as a reference for this painting. The priceless antiquities are safe...so far.

I've always loved riding bicycles and as a young boy I drew images of various types of bikes. This is a poster of imaginary bikes promoting the latest in bicycle technology. Circa anytime. This mixed media, with the bicycles drawn in pen and ink, and a translucent application of acrylic paint in overlapping panels, is a memory of my bicycle-drawing childhood.
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No part of this painting is real but the paint. Not the language, nor the fish, nor the map, nor the archipelago. It’s scientific exploration, nautical adventure, the key to a far-flung corner of my own mind.
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When late fall arrives the sweet gum trees in my backyard drop their leaves into their tree paint. Trees are better artists than any humans.

Where a tree is born, there it remains for it's entire life. If that's not bad enough, they must wait each year for the leaves to return to feed them. Can trees live a life of desperation? Can trees want to travel, see the world, not to be stuck in one place forever? Do trees dream? Do you see yourself in the trees?
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The evolution of the cosmos, it's origin, has always fascinated me. For centuries, everyone from ancient stargazers to theoretical physicists has attempted to explain how all of this came to be. This painting is my offering. Anubis is acting as the mid-wife, a role-reversal for him. That's the great thing about painting; it can make anything possible.
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This is a flag of unity for my brothers and sisters. My parents had three girls and three boys, each depicted in this painting as a star, each slightly different in size, texture, and hue, as each of us is different. We got along great growing up, and we still do. My youngest brother died a few years ago, but will forever hold his place in this constellation.
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Gauze-like, with color and symbols placed all over the panel, this is a study of disparate images in a fully furnished dreamscape. It started with me putting globs of paint down and moving the paint by impact, slapping it with a large brush. Then I added pen and ink renderings of Nefertiti and her maids. I included Aten, dominating the background as a necessary element to this queen's legacy.

Growing up, I spent many summers at my grandfather's house. Located on a lake, there were plenty of things a boy could get into. Swimming, boating, climbing trees, falling OUT of trees. There was always a break in the action for watermelon time. My grandfather delighted in slicing the melons into crisp, pristine wedges that quickly became a row of lonely rinds. I can still see those melons lined up on the waxed picnic tablecloth.
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Most people that work, have been late for work. I imagined the most desperate attempt to make it on time, against formidable challenges, in an otherworldly setting.
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