Triangulation

My paintings are fueled by my love of abstraction. The practice of making them involves experimenting with many schools of art and diverse art movements from the early 1900s to the present. My work has been described as minimal, concrete, reductive, geometric, hard-edged and non-objective.

For the most part, I do not adhere to a "recognizable style" and instead depend on my intuition and shift back and forth within different parameters. Sometimes I work in pairs but have also worked in series as in my Concrete Paintings. I favor flat blocks of color, straight lines, hard edges, the grid, patterns, color juxtaposition, geometry, and patterns. The work is distilled and austere.

I work with a mixture of acrylic paint, matte medium, and gesso on canvas, paper or wood, giving my work a matte flat finish similar to gouache paint and creates the great depth of color that I prefer. I finish the work with a coat of matte varnish.

I studied under some great masters such as Elizabeth Murray, Keith Sonnier, Raphael Ferrer, Lucio Pozzi, and Nachume Miller. Artists that have influenced my work are Imi Knoebel, David Novros, Ellsworth Kelly, Carmen Herrera, and Robert Mangold.

I am also influenced by architecture, patterns, graphic design and anything with a minimalist aesthetic. Having gestated and remixed many abstract styles, my intention is to force a new dialogue inherent to abstraction that started in the early 1900s and continues to be relevant to this day. I hope that when a viewer sees my work they will get a feeling of simplicity, harmony, order, and rhythm.

My work is in many private collections in the U.S. from coast to coast and Europe.

The painting is signed, titled and dated on the back.