CANARY / STUDIO

Autumnal

2011-12-04T09:20:00.001-08:00

"Autumnal"

oil and enamel on paper-mounted panels, each 3" x 2.5"

3 hanging options, 2011

Homing Pigeons

2011-12-04T08:53:00.000-08:00

"Pigeon"

oil and enamel on paper-mounted panel, 3" x 2.5" 2011

"Homing"

oil on paper mounted panels, triptych, each 8" x 7.5" (8" x 22.5" total)

2011

Homing detail

Contrails

2011-12-04T08:30:00.000-08:00

"Contrail"

oil on paper-mounted panel, 6" x 5.5"

2011

Our Lady

2011-12-04T08:08:00.000-08:00

"Our Lady" (night)

oil on paper-mounted panel, 15" x 17" 2011

"Our Lady" (day)

oil on paper-mounted panel, 15" x 17", 2011

A nod to Velazquez while exploring the idea of the halo or ring of stars. Letting the symbol stand alone, deity removed (in this case the Holy Mother) creates an interesting tension; the aura of spirituality without the figurative elements. As a lapsed catholic and a painter I think its useful to confront, or at least start a dialogue with roman catholic iconography, the backbone of western painting. It also reminded me of certain miracle visions, such as Our Lady of Fatama, which is a truly strange episode with apocalyptic secrets passed on to unsuspecting, yet devout children, culminating in a blinding mid-day apparition confirmed by an entire town.

Religious iconography, and the stories they serve to better tell, present us with a fascinating intersection between faith, natural phenomena and the ability of the mind to extrapolate meaning from both.

Double Exposure

2011-10-31T18:32:00.000-07:00

"Lapse"

oil on paper mounted panel, 8" x 6.75", 2011

"lapse"- detail

A kind of abrupt return to figurative work, "Lapse" represents a kind of culmination of certain proclivities and directions that have shown up in my work in the past year. Playing with the distorted image, doubling and visual confusion that more directly talks about movement or time passing (in this case, time enough to glance down). In many ways this painting feels new, bold and challenging, but it also feels very much like where I left off with figurative concerns- it feels like a MICA painting; it also unabashedly references my favorite figurative painters, Vuillard, Sargent, Uglow, Saville...not that this diminishes the spark of the painting. If anything, it's like comfort food, or a new way of telling a familiar story. And hopefully the yellow, which has an associative significance for me, off-sets that ubiquitous Baltimore gray that I tried so hard to un-learn.

"Yellow shirt"

oil on paper-mounted panel, 8" x 6.75", 2011

Pigeon Camera

2011-10-31T18:18:00.000-07:00

"Pigeon Camera"

oil on paper-mounted panel, with PVA and pencil. 8" x 7", 2011

Pigeon Camera- digital study

More Trees

2011-10-31T18:03:00.000-07:00

"Most Everything Does #2"

oil on two paper-mounted panels, each 7" x 4.25"

Part two of trees and phone lines.

I like how the color gradation can be interpreted as both dawn and dusk, beginning or end.

Detail of panel preparation. Paper mounted panel, primed with gesso, and cut into a grid relief within both panels, that is then primed with PVA. The variation in surface height allows for interesting textures as well as the painting sitting "within" the rest of the surface. I don't think I would do this for every painting, but surface wise, it made sense for these compositions.

Reference Journal

2011-07-25T16:05:00.000-07:00

Various pages from my reference journal / image log / study archive.

Print-outs, type samples, photoshop compositions, notes and various types of tape.

So at some point I started keeping a reference book. It's a hefty red-covered volume of gridded pages containing various source images and studies, culled from books, family albums or worked out in photoshop. I try not to do much drawing; it's intended to be a kind of un-edited flow of imagery that for whatever reason I find exciting, interesting or useful. There aren't any rules about what I put in the book and not everything makes it to a painting, but it is selective. The idea is to keep track of my aesthetic preferences so I can better understand where decisions come from. Of course, anyone could do this because everyone has aesthetic interests. I think these particular interests come from certain larger (perhaps sub-conscious) roots. In less convoluted terms, what we find attractive or interesting visually, stems from our unique, personal worldview. It can't be said that everything in the book has a psychological underpinning, but that's part of why it's interesting- you see patterns start to emerge. And images that don't seem related at first, might find echoes a few pages later. The idea of a visual log isn't really anything new to practicing art and I'm willing to bet that almost all artists keep some kind of log, in some form. I think it is an increasingly important practice, though, as our image-saturated world seems to sometimes be at the tipping point. (Google image search, camera phones w/filters, design everywhere) It can be hard to focus. And by keeping very literal tabs on what applies to my work at present and past, I can learn to ignore everything that doesn't. Until it does.

A progression:

Body of images----------> Body of work -----------------> An idea

(broad, but specific) (focused, but progressive) (singular concern)

Some trees

2011-07-21T16:27:00.000-07:00

"most everything does" 2011

oil on two paper-mounted panels, each 7" x 4.25"

hanging option 1

Same piece, hanging option 2

Again, taking advantage of the playful possibilities inherent in the diptych format. This also continues some of my recent interest in slightly skewed images. I enjoy the surprise of the compositional shift and hope it hints at something related to memory.

All of this is very much in the early stages, more to come.

Comet Hyakutake

2011-07-17T15:35:00.000-07:00

"Hyakutake" 2011

Oil and enamel on paper-mounted panel.

Each panel 8.75" x 8"

Roost

2011-07-09T13:21:00.000-07:00

"Roost" 2011

oil and PVA on two paper-mounted panels

3" x 3.5" each

diptych to be displayed in two possible arrangements.

Ideas about shelter, co-habitation, domestic geometry, etc.

I like the possibility of two different hanging options, each with slightly

different connotations. Composition can drive the psychology of the image.

In Progress

2011-05-31T16:07:00.000-07:00

95% done. Just needs some subtle adjustments in terms of surface,

color, blurring, etc.

Detail of enamel blocks.

Detail of Pigeon feet part 2.

Untitled (for now) painting of pigeon w. comet Hyakutake

Very much still in the works; more to come.

detail of Pigeon feet.

Comet Hyakutake, still in progress, but close.

Portrait of the artist's father

2011-05-31T15:17:00.000-07:00

"Vincent, '81"

Ink, oil and enamel on paper-mounted panel.

5.5" x 5.5"

A portrait of my father, the year he graduated medical school. Reverting back to a limited palette and subtle tonal gradation, in an attempt to a get at a familiar likeness. Lately, I've been attracted to images that represent, or conjure an idea of home or roots. It's maybe best described as painting "comfort food". My father's backyard comet photos, trees and family photos; these are the givens. Images tied to a personal history, as opposed to the interests that develop over time. The splitting of the portrait is a way of not getting too comfortable, or to hint at some tension that might exist with images like this. It hopefully creates a kind of visual buzz that causes a double take, makes you look closer at the face depicted.

New Works- In Progress

2011-04-28T06:11:00.001-07:00

as of yet untitled portrait of father, w. green block.

ink, oil, PVA and enamel on paper-mounted panel.

still in progress.

"Island"

oil, PVA and enamel on paper-mounted panel.

"Comet Hyakutake"

oil, PVA on paper mounted panels.

very much still in progress.

Bull's Eye Bouquet

2011-02-25T14:34:00.000-08:00

"Bull's Eye Bouquet"

oil and enamel on paper-mounted panel. 8.5" x 7.5" 2011

detail of flowers and lettering.

The successful realization of a painting that I've wanted to make for a very long time. It was extremely fun to paint, to play at being Sargent a little bit. Some of the best flowers happen in his paintings, not to mention Uglow. The phrase was originally meant as a reference to peacocks, but applying it in a more literal sense works too. One of the things that draws me to the use of text, besides a way of graphically glorifying a title, is the conceptual tension that words can play against the image. In this case, the phrase is a suitable partner to the floral arrangement presented, but it also offers a way out of the literal, as a "bull's eye bouquet" is something all together different from what we might normally think of as a floral arrangement. With paintings like this, I am hoping for an composition that allows for a variety of individual interpretations within a framework of deliberate mark-making. Still pushing a clear idea, but allowing for some thinking space around it. I don't want to say it all. These days, I measure success in painting by how much they surprise me. If they don't keep me guessing afterwards, then they probably won't be much good to anyone else either.

Work in Progress- Yellow Drum

2011-02-25T14:30:00.000-08:00

Yellow drum painting. Currently being picked apart, sanded and re-painted for the third time.

It's a tough one. Trying to relate it to "Paradiddle" and "Black Drums" in a way that goes beyond the subject matter. Finding a balance between building and taking apart. More to come.

Black Drums

2011-02-25T14:27:00.000-08:00

"Black Drums (un-snared)"

oil and graphite on paper-mounted panels, joined diptych. 9.5" x 16.5" 2011

Recent Influences- Drum Paintings

2011-02-08T19:04:00.000-08:00

After starting the fourth painting of drums, I started to mine the library for possible reference points, or influences that I may have overlooked. Though a painting like "Paradiddle" was originally inspired by a WPA photograph of a marine drummer, the subsequent works are turning out to be something different. It's more about the idea of combining landscape with these monumental, floating objects in a way that feels natural. The way the painting asserts itself, and (hopefully) the consistency of light will make these paintings believable. I was reminded of the water-towers of Bernd and Hilla Becher last week while working on the new photo show at the MFA (Conversations). They are great to look at to get a sense of immense weight as well as the gratifying bulk of elliptical forms. This led me back to a more ingrained influence from childhood- the fantasy story of "Cloudy with a Chance of Meatballs". If you're not familiar with the land of Chewandswallow, it is a place where food falls from the sky and meals are dictated by weather patterns. This book is one of my earliest visual memories; the illustrations by Ron Barrett are amazing- beautifully composed with humor and a sort of epic sense of scale (pancake covers school, man lost in pea soup fog). Looking through it again, I was struck by the Jell-o mold image, as well as the hamburgers floating in the sky (see above). All objects that don't belong, set convincingly in the landscape. It's a kids book, but then again I'd consider the drums to be a sort of fantasy element as well; an instrument indicative of rhythm, order and action. As the paintings continue to develop and change, it's good to identify these reference points and for me, it's one of the more interesting parts of making art; making work and finding clues afterwards.

Study for a Halo

2011-02-08T19:01:00.001-08:00

"Study for a Halo (After Velazquez)"

oil on paper-mounted panel, 5.25" x 5" 2011

Un-Snared

2011-02-08T18:58:00.000-08:00

"Un-Snared" oil on paper-mounted panel, 7" x 9.5", 2011

New in the Studio

2011-02-08T18:51:00.000-08:00

My ideal set-up. Count the yellow things.

Recent paintings in rotation.

Little future paintings; books for gluing the paper down.

Ocean Polaroids

2011-01-23T19:06:00.000-08:00

"Ocean Polaroids" oil and PVA on paper-mounted panel, 8" x 7" 2011

My moment with Magritte, minus the floating derby hats. I always liked those paintings so much as a kid. Little puzzles and metaphor games. I like the space at work here, how the distance feels vague and believable at the same time. This painting is a surprisingly quick read, which I feel is mostly due to the iconic polaroid bordering. Ceci n'est pas une polaroid. Based off some photos that I took in North Carolina many years ago.

Noodle

2011-01-23T18:49:00.000-08:00

"Noodle" oil on paper-mounted panel, 6.25" x 4" 2011

A study in geometry and pure color. Kind of a quick one liner that surprised me, it happened so fast. It also reminds me of my friend Osamu Kobayashi's work. It's funny that no matter how flat and removed an abstraction can be, it always yields to the power of suggestion (hence the title). In some ways, the simplified form is the most powerful mode of representation. Use what is given and fill in the blanks. Anyway, I'm calling it noodle.

Halley's 1986

2011-01-23T18:18:00.000-08:00

"Halley's 1986" oil on paper-mounted panel, 7.5" x 6.75" 2011

Self-portrait as a kiddo; approximately from the year that Halley's comet last passed by. We lived in Alabama then. Black geometry lifted from a commemorative matchbox car (Pontiac Firebird) that also features a smiling, wormy representation of said comet; winding it's way past a slice of yellow moon (see below). Childhood relics and cosmic events.

Hood reads:

Welcome back, Halley's Comet 1985-1986.

T-Shirt Design

2011-01-17T11:16:00.001-08:00

Tee shirt design for local band Slant of Light , in collaboration w/ local designer Sara Argue . To be screen-printed by a local printer, whose name unfortunately escapes me at the moment. All Somerville skills on this one. The design was very closely based on the drawing seen below:

"Tree Desk" graphite on paper, 8.5" x 11" 2011

Works in Progress

2010-12-28T16:11:00.001-08:00

After third sitting; slight variations.

After first sitting.

Self-Portrait / Untitled drum painting
both works- oil on paper-mounted panel and very much still in progress.

Recent Drawings

2010-12-28T15:40:00.001-08:00

"Lanterns"

"Paradiddle"

"Trees"

"Star Finder"

All works- graphite/watercolor on paper, 2010

Double Drums

2010-12-28T15:25:00.000-08:00

"Paradiddle" oil on panel, 16" x 16" 2010

Sea Monsters

2010-11-22T17:39:00.001-08:00

"Sea Monsters" oil on paper-mounted panel, 5.75" x 5.25", 2010

Relocated to the margins of antique maps and just off the coast, you will find the oddest assortment of creatures. They float on whirlpools and menace the tall ships. They have spouts and horns. If the compass rose is a cartographer's nod of encouragement, then the sea monster is a shrug of the shoulders. It is a fear of the unknown, a filler of the empty spaces between continents. Yet who can take these hybrids seriously? And more importantly, did they ever stop anyone from exploring this watery sphere?

Herman Melville's Breakfast

2010-11-22T16:16:00.000-08:00

"Herman Melville's Breakfast" Oil on Panel, 24" x 22", 2010

This painting explores the role of the great American Novelist as masculine hero. Melville: steeped in Nineteenth century mannerisms, biblical allusions and an encyclopedic knowledge of all things leviathan, is seen as a graphic, unmoving fixture, overlapped by swordfish on a salmon-pink color block. The text is meant to recall a greasy spoon-style aesthetic. His eyes are narrowed with purpose and he is seen in the grand, posthumous esteem that history demands. There is something magical about the language of Moby Dick, how it circles itself, rambles on and yet delivers great humor with every observation. Take this line, from Chapter 65 (The Whale as Dish):
"It is not, perhaps, entirely because the whale is so excessively unctuous that landsmen seem to regard the eating of him with abhorrence; that appears to result, in some way, from the consideration before mentioned: i.e. that a man should eat a newly murdered thing of the sea, and eat it too by its own light."
In a chapter that begins with descriptions of barbecued porpoises and whale brain recipes, he goes on to talk about cannibals and ends with a rant about the evils of foie-gras. This chapter and some of the scenes that take place at the Spouter Inn (Queequeg harpooning steaks, over the heads of his table-mates) inspired this painting, which ended up being somewhat hindered by the nagging notion that Melville's appetite may be too big for just one painting. Or at least that's what I'd like to think.

"Loomings broadside" letterpress and polymer plate print, 10" x 14" 2006

On a related note: I recently dug up this broadside of the first paragraph of Moby-Dick , that I handset and printed on the VanDerCook at Dolphin Press during my MICA days. The illustration is meant to seem vaguely nautical; a sort of lighthouse, oar and steering wheel-in one. The form of the Broadside is a fun challenge- somewhere between poster and illustration.

Air Quotes Int'l

2010-07-11T20:27:00.000-07:00

"Air Quotes Int'l" oil on paper-mounted panel, 8" x 7", 2010

Air Quotes Int'l- studies

2010-07-11T20:20:00.000-07:00

Three studies for "Air Quotes Int'l", inkjet prints, color pencil, graphite transfer, 2010

Canary Current

2010-07-11T20:17:00.001-07:00

"canary current", oil on panel, 5.5" x 5.5", 2010

Book Project- Behind the Roman Nose

2010-06-29T21:40:00.000-07:00

"Behind the Roman Nose"

Artist's book w/ japanese binding, linocut and inkjet printing.
7.75" x 6.75" Edition of 8, 2008

As a transcribed and illustrated book of my grandfather's "autobiography" (written for a class project when he was in eighth grade), Behind the Roman Nose is at once a graphic imagining of the events described as well as a testament to the power of stories passed down. These fragments are in no way the whole picture, but often become the majority of what we remember about family members. The entire edition was distributed amongst family members as a holiday gift.

"Study for Behind the Roman Nose" ink, graphite and inkjet collage, 2008

Works in Progress

2010-06-29T20:48:00.000-07:00

Herman Melville's Breakfast and as-of-yet untitled painting of drums.

What is Sound?

2010-06-23T18:52:00.000-07:00

"What is Sound? (Don Cherry)"
ink, oil and pencil on paper-mounted panel, 11"x 7", 2010

Some Background:
Don Cherry (November 18, 1936 – October 19, 1995) one of the most outstanding figures of avant-garde jazz in the 50's and 60's; playing with the likes of Ornette and Coltrane. A complete innovator with a pocket trumpet.

Don Cherry (February 5th, 1934) one of the most celebrated tv personalities of the NHL. Known for his impeccable taste in suits, as well as his short career (one night) as a player on the '55 Bruins. Went on to coach the team.

Building a painting from coincidence up. Don Cherry made a surprise appearance (in a tartan pattern suit) at my first Bruins game this past year. My brother, being the hockey player of the family, was beside himself and informed me of Mr. Cherry's importance. Later on, I told him of Don Cherry's great importance to the history of jazz. I mostly enjoy the idea of two Dons and their wildly divergent, yet equally amazing career paths.

Double Portrait

2010-06-16T20:39:00.001-07:00

"Ash- double portrait #1"
Ink, acrylic, pencil and gouache on paper-mounted panel, 12" x 12"
2010

"Ash- double portrait #2"
Ink, acrylic, pencil and gouache on paper-mounted panel, 6" x 6"
2010

Once again, playing with the double-image, this time dealing with portraiture. In #2, the shape that resembles a state is the happy accident of an earlier painting. I consider a painting like this to be a bit experimental; to see what will happen if four elements have to get along without any conceptual logic supporting them.

The Funniest Part

2010-06-16T20:00:00.000-07:00

"the funniest part of something that just wasn't funny"
acrylic and oil on panel, 6" x 6", 2010

An ode to Duchamp's "In Advance of the Broken Arm" and the idea of Art as Utility. Literally in this case. I think the humor and wit of conceptual art can sometimes undermine its' power. Then again, humor seems to be the backbone of these artists starting with DADA and Duchamp through word artists like Richard Prince and Mel Bochner. I suppose there's nothing wrong with a joke that takes itself seriously.

Lanterns & Phases

2010-05-31T20:19:00.000-07:00

"lantern/projector" watercolor/graphite on paper panel, 5" x 5"

"Lanterns & Phases"
acrylic and oil on canvas, 12" x 10"

Broken Relief

2010-05-31T19:54:00.000-07:00

oil on paper-mounted panel, 12" x 12" 2010

Broken relief as a term- something sculpted, something round that breaks completely from flatness. The opposite of bas-relief. It's art history used for metaphor. I also enjoy the kind of double meaning here, relief is "broken", indicating a sudden state of worry.

Marble and Stone

2010-05-31T19:17:00.000-07:00

gouache, pencil, inkjet text on paper panel, 4.25" x 5.25"

Another study, w/text.

Study for a Monument

2010-05-31T18:19:00.000-07:00

oil on panel, 6" x 6"

This little study was the start of an ongoing series related to images of statuary, bronzes and pediment decoration. Oddly enough, I think of it as a companion to the blue circles. In terms of color and shape relationships, they make a good pair.

Circles in Blue Field

2010-05-31T17:59:00.000-07:00

oil on panel, 6" x 6"

Re-visiting some old ideas from school days. Namely the circle, repetition and a vague sense of space.

STUDIO TIMES

2010-05-31T11:07:00.001-07:00

Just a shot of the studio, with paintings basking in the morning light. This may not be the best storage conditions, but I will often sit them here as most pieces remain "in rotation" for awhile until they are finished.

Ships

2010-05-30T18:45:00.000-07:00

"Shipwreck" collage w/drawing, 4.5" x 4.5" 2009

"12" collage w/drawing, 4.5" x 4.5" 2009

"Desert Ship" watercolor w/drawing, 4.5" x 5" 2009

Pediment Blues

2010-05-30T15:35:00.000-07:00

"Pediment Blues" oil on panel, "18 x 12" 2009

Unidentified

2010-05-29T15:56:00.000-07:00

"Unidentified" oil on panel, 4" x 5" 2008

"Unidentified study"
watercolor, graphite, pen an charcoal on paper panel, 4" x 3" 2008

Elephant Drawings

2010-05-24T18:47:00.000-07:00

"Elephant" ink and charcoal on paper-mounted panel, 2.5"x 3", 2008

"Elephant w/grid" watercolor, graphite & pen on paper panel, 2" x 2.5" 2008

Hull

2010-05-24T18:43:00.000-07:00

"Hull"
watercolor/pencil
on paper-mounted panel
5.5"x 3", 2008

Tiny Comets

2010-05-24T18:34:00.000-07:00

"Comets"
watercolor on paper-mounted panel,
2.75" x 1.25", 2008

Comet Hyakutake passed by In 1996, which was also the peak of my backyard astronomy phase. My father and I took the telescope and our cameras out to some rural corner of Harford County Maryland and took some shots. I recall being on the edges of a farm that was completely dark save for a huge tree that was illuminated an eerie green by a nearby spotlight (or maybe it was an enormous bug zapper). Either way we got some good shots of the comet. Years later, I found one of these snapshots. It seemed like a fitting subject for an uber-tiny watercolor; doubled up (as most of my paintings from that time) for a kind of film strip effect.

Clouds (Stolen Painting)

2010-05-24T18:27:00.000-07:00

"Square Clouds" oil on panel, 6"x 6", 2008

I am happy to have an image of this painting because it was stolen from a show at a local cafe here in Somerville. Apparently someone liked the painting enough to take it, but didn't respect Art enough to support it. Gone as it is, this painting was based on a photo I took of four clouds in a square formation. I liked the somewhat unnatural sentiment of cloud geometry.

Reflections

2010-05-24T18:25:00.000-07:00

"Floats"
acrylic on panel, 5.5" x 5.5" 2008

"Coast Guard"
oil on panel, 2" x 3.5" 2008

Snow Field

2010-05-24T18:24:00.000-07:00

"Snow Field" oil on panel, 8" x 12" 2008

Vessels

2010-05-24T18:23:00.000-07:00

"Vessels" oil on panel, 5" x 5.75" 2008

Ursa Polar

2010-05-24T18:22:00.000-07:00

"Ursa Polar" detail

"Ursa Polar" oil on panel diptych, 5"x 6", 2008

Kind of a visual pun here; a painting about polar bears without a home (except for in the stars).

"Backwards constellation/oil rig" oil on panel, each 3" x 3/5", 2008

Icebergs

2010-05-24T18:21:00.000-07:00

"Three Icebergs" oil on panel, 5.5" x 10" 2008

Shark Attack

2010-05-24T18:20:00.000-07:00

"Frenzy" oil on panel diptych, 3"x4", 2007

A shark attack, seen through the lens of abstract-expressionism. Pollock meets Jaws? More often than not, I choose a subject matter for what it offers me technically. The right form for the content.

Shark Teeth

2010-05-24T18:19:00.000-07:00

"Toots" oil on canvas, 8" x 10" 2007

"Shark teeth" etching, 4" x 6" 2007

Palm Trees

2010-05-24T18:15:00.000-07:00

"Palmscape study" oil on panel, 4.5" x 6", 2007

"Palmscape" oil on canvas, 48"x 60", 2007

"Palms in a storm" Lithograph, 10" x 14" 2007

"Palmscape" etching w/ drypoint, 8.5" x 12" 2007

"Palmscape 2" etching w/drypoint, 8.5" x 12" 2007

"Palmscape 3" etching w/drypoint, 8.5" x 12" 2007

Vesuvius Series

2010-05-23T17:49:00.000-07:00

"Vesuvius #1" oil on paper-mounted panel, 6" x 6", 2005

"Vesuvius #2" oil on paper-mounted panel, 6" x 6", 2005

"Vesuvius #3" oil on paper-mounted panel, 6" x 6", 2005

This series of three paintings was completed during a MICA trip to the Amalfi coast of Italy in the summer of 2005. I had the incredible good fortune to spend a couple of weeks staring at Mt. Vesuvius from the edge of a rocky jetty in the port town of Piano. It was my "plein-air" moment, complete with sea-salt and stray dogs. Using the volcano as the foil to play with distance, as well as shape and color, I started to use specific shapes to "set off" the composition. The parallel bars, triangles and the four points of a rectangle all sit somewhere within the field of vision, which I found keeps the distance, as well as the painting somewhat active. I also like the idea of graphic representations (triangle) of the mountain, super-imposed over the real thing, or at least a patchy representation of the real thing.

Birdhouse Etchings

2010-05-23T17:00:00.000-07:00

"chatterbox" Intaglio, 9.5" x 9" 2005

"cabin fever" Intaglio, 14.5" x 11" 2005

"over-easy" Intaglio, 9.5" x 9" 2005

"Two birdhouses" etching, 5.5" x 5" 2005

"A Cage" etching w/soft ground, 8" x 4.5" 2005

"Birdhouse in light" etching, 8" x 4.5" 2005

"Birdhouse" etching w/ 3 colors, 4.5" x 4" 2005

"Cage" etching, 8" x 4.5" 2005

Cukoo / Birdhouses

2010-05-22T18:09:00.000-07:00

"Cukoo" oil on panel, 11" x 9", 2004

"Three Choices" oil on panel, 10" x 20", 2004

Birdhouses

2010-05-21T14:32:00.000-07:00

Several birdhouse paintings, oil on panel, all approx. 4.5" x 4" 2005

Self-Portrait

2010-05-20T14:45:00.000-07:00

"Self Portrait" oil on canvas, 12" x 10" 2005