My work is part photography, part painting and drawing, part digital manipulation.  I use photographic images which I alter by a number of processes which include re-coloring, removing all color, using color from a cloned source, importing sections of a piece from other pieces, distortion, cropping, etc.  To do this I use between 4 and 10 software programs, peripherals including an Intous tablet and an Epson 44 inch archival printer.  My substrates range from Epson specially coated canvases to Unryu rice papers adhered to a stretched canvas support.  The digital monoprint I then finish with acrylic glazes and varnishes.

I like working with figures and portraits and it is important to me to create a sphere of tension between my characters/figures because I believe that life has become tense due to constant multi-tasking and the non-discrete use of telecommunications....the irony for me is that I create my pieces with the same technology that is making everyone crazy.

I build on each image, much like using tracing paper or a series of drawings to explore my subject and to make choices and decisions about what I find to be most important and enticing about the piece.  While the original photo/subject is what attracts me to start the project, I do not visualize the finished painting but rather work within a very loose structure that allows me to explore my own psyche and find something personal as I work with my images.   This method of working allows me to go from the specific to the ethereal and imaginative.  In effect, the work does not exist for me when I begin it, but comes to life, on its own, as I work with it. 

I have been an exhibiting artist since 1962 working in oil, acrylics and mixed media.  My current working process has evolved over the past 12 years from working with computer-painted small scale pieces printed on watercolor paper to working with multiple prints on rice paper to my current use of a large-scale archival printer, special canvas and surfacing my work with acrylics.