I just received the art book that I have two drawings in called Strokes of Genius 9, an annual survey of drawings. The two drawings are: The Lovely Jungian Analyst, an orange scribble portrait of my wife Laurel; and Mysterious Italian with Matches, a portrait of a young man drawn on black museum board. Both pages in the book have statements about the process of creating these two works of art:

Mysterious Italian with Matches
Colored pencil and oil pastel on board, 26-1/2” x 20-1/2”
     In creating portraits, I experiment using colored pencil and oil pastel on black paper. I react to the effect of color as it appears from the blackness of the drawing surface.  In this drawing the face is partially hidden from the viewer---not with a mask, but with a grouping of objects that sandwich the figure between the foreground and the background. I view the form of the paper match as an object that holds the potential for the shift from the latent to the active. The rhythm of the matches across the composition create a counterpoint to the static unmoving figure. The subject, secure behind the objects and what they imply, sits protected, though precariously, within the space that is defined by the objects in front and the shimmering scribbled wall behind.

The Lovely Jungian Analyst
Watercolor and ink on paper, 52” x 48”
     At one time I drew orange scribbles on faces from newspaper photos. These expressive marks, which I carefully outlined in black, thereby altering their character, have now become portraits unto themselves. I begin the process by projecting multiple images onto watercolor paper. By loosely sketching these superimposed portrait images as well as forms that have a close relationship to the subject over one another with orange watercolor pencils, I create a mysteriously composite, yet unified image of the subject. All of the marks are then carefully outlined in black ink and filled in with watercolor. The resulting scribbled portrait redefines the process of drawing and transforms the portrait into a flat abstract image.

Orange Scribble Automobile

In 1986 I convinced a work buddy of mine to allow me to paint his old slightly beat-up car. He was open to the idea, so over a three-day weekend I painted the car, and we spent the summer driving it around Ann Arbor. One time some angry frat boys yelled at us for driving the thing on Main Street. I guess they had difficulty with anything different.

Barry and I went our separate ways. I moved to New York and I heard years later that the car was sold to somebody, somewhere. I guess the car has disappeared for good so I won't be seeing it going down Main Street or any other street. Too bad.

No!: A 1984 Installation

As I went through slides of my early work to digitize, I came across a display case installation I did for the University of Michigan Residential College Gallery in 1984. I used various pieces that I had previously worked on, including a sculpted head of a young woman with a mohawk, a portrait of a friend, and four sculpted heads. I added scribbled drawings on mylar, pointed sticks, and a bunch of hanging used tea bags and create this assemblage installation, titled No!


David and Johnny

I initially wanted to do a scribble portrait of David Byrne (Talking Heads). After seeing a documentary of the punk guitarist Johnny Thunders (New York Dolls, The Heartbreakers), I re-imagined the piece using portraits of these two important musician/songwriters of the late 70s early 80s New York music scene. Two distinct personalities. Two musical genres (American punk and new wave). Maybe someday I'll do another piece using two British musicians from the 1980s. I loved that kind of music 30 years ago, and I still love listening to it.

     David and Johnny     Colored pencil, watercolor and ink on board, 20" x 32", 2015

David and Johnny
Colored pencil, watercolor and ink on board, 20" x 32", 2015

Cigar Box Assemblage

First of all, I have to admit: I’m a sucker for burnt orange.

While looking for pre-made boxes to use to develop assemblage pieces, I came across small cigar boxes online. What I ended up with was a large cardboard box filled with burnt orange cigar boxes. I initially began working on a series of single boxes but, because I didn’t like the small size, I began gluing boxes together to create multi-paneled compositions. The boxes are small with a deep space within, so my working method of filling the interior depth differed from my approach to boxes that are much larger but have a shallower depth. In the end, I look at these as experiments in intimate storytelling more than as formal abstract compositions.

    Contemplate | Recover | Ridicule   Giclee prints, mixed media and found objects 13-7/8" x 6-1/8" x 4-3/16", 2014

Contemplate | Recover | Ridicule
Giclee prints, mixed media and found objects
13-7/8" x 6-1/8" x 4-3/16", 2014

    Long Past the Better Days    Tempera on board, giclee prints, acrylic and found objects   6-1/8" x 8-7/8" x 4-3/16", 2014

Long Past the Better Days
Tempera on board, giclee prints, acrylic and found objects
6-1/8" x 8-7/8" x 4-3/16", 2014

    Sally    Giclee prints, mixed media and found objects   6-1/8" x 4-3/8" x 4-3/16", 2014

Giclee prints, mixed media and found objects
6-1/8" x 4-3/8" x 4-3/16", 2014

    Pope Cigar Box    Giclee prints, mixed media and found objects   6-1/8" x 4-3/8" x 4-3/16", 2013

Pope Cigar Box
Giclee prints, mixed media and found objects
6-1/8" x 4-3/8" x 4-3/16", 2013

Southbury Trees No. 9 painting

Late last spring I was given an opportunity to do a large painting when a friend of mine in Ann Arbor commissioned me to do another painting in the Southbury Trees series of art works that depict trees along a horizontal expanse.  As I planned the painting, I decided to take still photos of the painting as I worked to build up the composition using my iPhone and a time-lapse video app.

As I worked through the summer and into the fall, I continued to document the process of doing the painting.  Hand-holding the camera created additional movement as did the repositioning of the equipment and supplies on and adjacent to the easel.

I completed the painting just prior to my deadline.  I packed the piece and Laurel and I drove the painting to Michigan and hung the painting on Thanksgiving morning before heading to my sister's house for Thanksgiving dinner with family.

Thoughts of my brother, gone from this world

Today Greg would have celebrated his 56th birthday, and I cannot help but think of and miss him.  I’ve spent countless moments thinking of my brother since the phone call I received from my sister in February 2010 informing me of Greg’s sudden passing. I’ve spent endless hours looking at photos of him, and one of the things I realized was that alot of them were of the two of us––that we were linked so closely, especially in childhood.


There exist hundreds of photographs that tell the story of my brother’s life. You see a happy baby and a boy with a lovely, innocent smile. You see a young man searching for himself as well as a rebellious teenager. You also see a happy contented partner and loving father.


We’re all destined to the same fate and, unfortunately, my brother left this world much too early. I only hope and pray that he had a good, fulfilling, and eventful life and that it was all worth the adventure of it. I also hope that his three kids understand that their father left a legacy as well as loving memories that Ashley, Alex, and Nick can take with them throughout their own lives.



Greg and I had a bond that is like no other relationship I’ve ever had. We grew up together and went through the typical brotherly love and hate.  As we got older and pre-occupied with our own adult issues and concerns, our relationship became more distant. Nevertheless, the relationship remained important to us. I loved seeing him and hearing stories of our childhood and his depictions of the myriad characters involved.

I’m sad to know that Greg is gone from this world, but he’ll always be my brother. I’ll be pleased living out the rest of my own life knowing this.

Paris trip - June 2011

Laurel was much better at learning French than I was. As a result, I depended on her to navigate the language during our stay in Paris last June. Our first and only Air France flights were highlighted by rude French flight attendants talking down to us, like this little exchange: “You must return to your seat” (English with heavy French accent). “But I have to use the restroom” (Laurel’s perfect English with pure American inflection). “That is your problem” (English with heavy French accent and attitude added).

It was my first trip to Paris. Two days spent in the Louvre and two trips to the Musee D’Orsay gave me an opportunity to finally see paintings that I’d only seen as small reproductions in art books and magazines. We ate breakfast at the same place, Mille et Un Pains, every morning and were served by a very friendly staff. Pastries were made in the back and served with café au lait in the front. Had escargot for the first time at Allard; who would have thought that snails would taste so damn good.

We learned to navigate the Metro subway system--took it to visit Alberto Giacometti’s studio location at 46 rue Hippolyte Maindron. Strolled through the Montparnase Cemetery and underneath the Eiffel Tower. Made stop-action videos at the Jardin des Tuileries. And discovered that the young Parisians don’t walk around their city with cell phones attached to their ears like Americans do…“Oh, it’s like totally awesome…I love to talk about nothing in particular…but really loud blah blah blah.” God, what a pleasant change.

Of course we now want to live there. I suppose I’ll need to learn the language. Laurel and I look forward to returning, but we won’t be taking Air France to get there.