On the surface, my paintings are highly focused, detailed examinations of bodies (frequently human, but not exclusively so). My materials and vocabulary are mostly traditional, being representational oil paintings on copper supports. However, I use the stratagems of humor, image manipulation and cropping, repetition, a fussy preciousness or a formalist presentation, to draw the viewer into a very contemporary direct engagement with the paintings.
I am continually fascinated by the plasticity of bodies and the underlying psychological terrain. My work expands the genre of portraiture by investigating the subject's relationship to his/her appearance, by addressing self-representation, and by incorporating directly or refusing to adknowledge the notion of the portrait as a reflection of a patron's (or subject's) vanity. I find my subject matter variously in physical change (growth, aging, illness, surgery), in alteration from outside forces (water, ropes, chains, clothing), in our genetic experimentation with other species (in the case of my series of dog paintings), in gatherings of objects that reflect the inner landscape, or simply in the endless mutability of the human face. This exploration generates a rich array of nonphysical/metaphysical ideas: the dichotomy of the inner/outer experience, the redefinition of beauty, the problem of intimacy, and the marvel of the visible world.