Visual Artist- Primarily Painter, I Work and Play with Colored Light
Member of the Westchester Arts Councils Roster of Teaching Artists
The Late Great Leon Golub was perhaps my most influential art instructor. It is because of his genius and humanity as well as excellence as a teacher that I was able to sustain to this day, my art journey which began in earnest as a 1st year undergraduate student at Livingston College in 1970.
Leon's visionary understanding of my painting, progress, potential and kinship with the work of Lester Johnson led me to the Yale School of Art. There Lester taught me truly amazing things about drawing and helped me forge and negotiate a powerful synthesis of the NY School of Abstract Expressionism (my first training ground), with my figurative work influenced by Matisse and the Fauves, The Blue Rider Group, the early 20th century German Expressionists and Leon Golub as well.
Lester introduced me to Jay Milder, and Peter Dean, two extraordinary painters, and magical spirits, who offered me understanding, hope, friendship, encouragement, feedback, inspiration, and a personal glimpse into the world of The Rhino Horn Group Painters. He also introduced me to Bill Barell, already living in Jersey City, NJ when I moved there.
Bill and I became very good friends; he opened his studio and home to me. He helped connect me to the raw, burgeoning art scene of that time in downtown JC. At Bil'ls house I had the opportunity to see and learn about original work by great artists like Bob Thompson, who had been a good friend of his. I also had the chance to meet up again with artists like Jay Milder. Jay wrote one of the most intelligent, perceptive, poetic and meaningful reviews of my paintings for my first one man Show at the Shoe String Gallery in Jersey City.
My exhibits at Bill's Shoe String gallery also brought me to the attention of Vivian Rainer and Bill Zimmer; both wrote insightful, positive reviews of my work in the NY Times. I began exhibiting in the Netherlands around that time, and was pleased that my paintings were much appreciated by people of such cultural and environmental differences. Im happy to have my paintings in several private collections there. It confirms one of my beliefs about great painting. It has to have universal appeal (timeless beauty), meaning, and formal structure that can be sustained in any place, light and time.
RATES & AVAILABILITY
Prices available upon request