Long before I became acquainted with the Dada and Pop visionaries, I was fascinated by the Jetsons. Saturday mornings were reserved for cartoon shows and Sunday mornings were not complete without the comic strips. My paintings reflected the biomorphic shapes contained in these venues.
Several years ago, I discovered that a genetic disorder, named Fragile X, lurked deep in my family history. In search of explanations, I was consumed with delving into medical books. The images I found there both fascinated and repelled me. At the same time, I saw a correlation to the organic and cartoony images that had become a part of my paintings. So I consciously and subconsciously made the medical illustrations a part of the images that I use to construct drawings that ultimately become paintings.
Although my paintings are developed with formal structure in mind and an emphasis on material and process, much of the imagery is gleaned from animated film and medical textbooks. So, as a critic once wrote, it is not an accident that some of my paintings resemble vivid, spongy and psychedelic landscapes that a space-age cartoon family might zoom through; or that others suggest Wassily Kandinsky meeting the Lava Lamp while watching a 1960s educational film introducing youngsters to the wonders of the digestive system.
The finished paintings stress color, surface and space through the use of traditional and non-traditional tools and printing techniques that include stencils, brushes, rollers, scrapers, masking and resist products.
I have also been influenced by Arshile Gorky, Dr. Seuss, Wassily Kandinsky, Peter Saul, Joan Miro, Walt Disney and Pixar.