An artists model on east 10th street oil on canvas 25 X 30 inches
Snake Island, Chester, Nova Scotia Oil on canvas 25 X 30 inches
My motivation stems from two sources. One is the image's potential for conveying sentiment and the other the joy of mixing simple colors to create an immediate painting from observation. I began as a photographer and soon realized I was compelled by the immediacy of painting. The ability to transform the observed light, form, and color of experienced images into works of art to evoke multiple emotions has animated my entire life.
My work reflects my deep connection to conveying the experience of our environs, particularly New York’s Lower East Side, Spanish Harlem, Gramercy Park, the South Bronx, Baltimore’s Fells Point, and the coastlines of Nova Scotia, Southern California and Brittany, France.
I attended the Maryland Institute College of Art—the oldest art school in America—and was recruited to attend Parsons School of Design’s first MFA program by artist Paul Resika, the program's co-founder.
My seascapes, cityscapes and murals are in many private collections and public spaces, including portraits at the National Portrait Gallery, the Clarence Mitchell Courthouse, and the National Arts Club. Funding for my work has come from the Helena Rubinstein Grant, the Elizabeth Greenshields Grant, and the Yale at Norfolk Fellowship. In 2019, I received the Poe Award for artistic excellence.
I have taught at the National Academy Museum School, Art Students League, Johns Hopkins University, Washington Studio School, Baltimore School for the Arts, and currently at the College of Mount St Vincent.
I use many different mediums, but oil paining is my most challenging and inspirational. I believe that working in a single medium allows for the opportunity in focusing the artistic process. Each idea picture manifests in its own individual style.
A lifetime of visual images, remarkable places, interesting people, challenging circumstances and refection time between them all.
" Whether it’s a big tree or a 1965 Pontiac, there’s something about the light hitting the subject that excites me and that’s what I paint. I am trying to get the sensation created by the thing I am looking at and not just copying it. "
American Artist Magazine
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