I was born in Germany, grew up in the U.S., and have loved cars for as long as I can remember. On a childhood trip to Germany in about 1980, I remember my uncle showing me the “M” badge affixed to the front of his BMW. “This ‘M’ means something very special,” he said. It must have been an E12 M535i, BMW’s first sedan to receive upgrades from the Motorsport division. The experience stoked my excitement for potent, special cars.

Following a passion for well-designed objects, I studied industrial design at Cal. State, Long Beach. After spending a few years at design firms, I switched to illustration and spent 20-plus-years working for some of the world’s best magazines. Now I’m grateful to be an artist creating limited-edition prints celebrating the 20th century’s greatest cars.

I view my work as being most closely associated with an offshoot of American modernism that emerged in the late 1920s and early 1930s known as Precisionism. Precisionist artists reduced their subjects to essential geometric shapes, reduced detail, and often used planes of light to create a sense of crisp focus that suggested the sleekness and sheen of machine forms. “American Landscape” by Charles Sheeler typifies this style of painting.

I work exclusively with hard-edged, flat planes of color and draw cars from a very low angle, as if we are seeing them eye-to-eye, as if we and they are equals. That these blocks of color work together in the viewer’s mind to recreate the smooth, flowing lines of a vintage automobile is, to me, where the magic happens. 

These are idealized portraits in which I aim to depict automobiles in their purest, iconic states, to capture their essential essence on paper, to convey the spark of why they move us in more ways than one.