These Organic Abstractions began as 8.5" x 11" inkjet prints. The images are reworked using paint, ink, lacquer and sandpaper until only a ghost of the orginal information is still visible.

Book Pages are pulled from my large accumulation of sketchbooks. These sketchbooks are my main form of translating information and generating visual investigations.
Each 8.5" x 6.25" Book Page is mounted between two sheets of glass and displayed on a small wood shelf.

The Desk Top Drawing Project (DTD) creates a system where documentation is an integral part of the creative process. The project records not only the process of reinterpretation but also documents the natural degradation of an image going through multiple reproduction cycles.

DTD consists of three phases where information is added and subtracted based on a non-objective, subconscious idea of harmony. At the end of each phase the resulting drawings become the inspiration for the next phase.

 Phase 1 began with a doodle drawn while talking on the phone. The doodle was reworked over a period of twelve months. The changes were digitally photographed.
 In Phase 2, ink jet prints were made of the photographs. These prints were reworked and reinterpreted using pencil, ballpoint pen, gesso, wood stians and lacquer. These changes were then digitally photographed.
 Phase 3 repeats the process, reworking the Phase 2 prints using colored pencils, ink, lacquer, wood stain and collage.
There are 49 drawings in the project. Drawing measures 10.5" x 7.5".
The whole installation measures 45 ft. x 16".

OGOP focuses on a printmaking process that uses sandpaper as the printing plate. The simplicity of this process belies the complexity of the resulting images. The sandpaper beautifully combines the tonality of aquatint, the embossing of a woodcut and the spontaneity of a mono-print. Each print is built up of multiple strikes. These layers of color give the images a tone and texture that is reminiscent of rusting iron, tarpaper roofing shingles or aging leather.
This process is one that I have played with for some years but it was not until an artist residency at the [Artspace} at Untitled that I had the uninterrupted time to really push this process. [Artspace] At Untitled is an exciting non-profit, multifunction art space located in Oklahoma City.
Each object/image floats in a white paper field. The six prints are made in an edition of five. The paper measures 20" x 15". Due to the organic nature of the printing process each print develops in away that makes it unique.

Toasty Objects was created to mark the conclusion of many years of working exclusively with symmetry. This project is a system images are combined with a three step drawing process to produce a series of drawings that focus exclusively on the physicality of materials and the obsessive quality of drafting.
The images were taken from a previous series entitled Objects that are Warm and Friendly. These images were reduced and turned into stencils. By selecting readymade images a large portion of the emotional content was removed. The stencils were combined with three simple materials: a black ballpoint pin, an orange felt tip marker, and amber tinted spray lacquer. The simplicity of these materials limited the options for creative lusciousness.
The execution of the drawings was done in three steps.
1. Make an outline of the stencil using the orange felt tip marker.
2. Draw concentric lines about 1/16” apart inside of the outline using the ballpoint pin.
3. Spray the drawing for five seconds with the lacquer. Hope that the drawing doesn't completely desolve.
Each drawing measures 24 x 18".
All drawings from this point onward will be at least slightly off center.

The Buds and Seeds Project is a system where objects are created based on the relationships found with a randomly selected photograph. This system is loosely based on the rules of composition established during the High Renaissance. These rules can be easily discerned in the painting “The Last Supper” by Leonardo da Vinci. This painting is constructed from geometric shapes and directional pathways. It is a composition of triangles.  It is a world based on the mathematics of harmony and drama.
In the Buds and Seeds Project, the rules of composition have been reversed. Instead of constructing a painting, the rules are used to deconstruct the compositional element of a random photograph. This deconstruction exposes the hidden world of organic geometry The organic geometry is then reinterpreted using collage and acrylic paint to create a new object. This object is self-contained but it is still tied to the roots of the original photograph.
Each artwork measures 26" x 18".

The Coiled Constructions project was generated in response to the 1855 La Reunion colony. This utopian socialist community was located in Texas next to the Trinity River. It lasted of only a few years before it was incorporated into the expanding city of Dallas. All traces of the original colony are now gone.
Coiled Constructions addresses the struggle of the colonists to bring order to the wild frontier by using coils of rope, a rudimentary tool of the times, to generate fields of ciaos.
The Coiled Constructions are created through a process of editing. Each drawing begins with an overload of random marks generated by pressing coils of rope saturated with wood stain onto sheets of paper. The resulting chaos is then edited and organized by way of the addition of small painted ovals and layers of transparent amber lacquer.
Each drawing measures 24" x 18".

Just Below The Surface is part of the Brooklyn Art Library Sketchbook Project. After filling forty pages of a 9" x 6" Moleskine sketchbook with drawings, the sketchbook was shipped off to the Brooklyn Library.  As of 2016, the Sketchbook Project remains the worlds largest collection of artist's made books. Next time you're in Brooklyn, please stop by and see if you can find my sketchbook.