Phone contact coming - contact artist on website
Phone contact coming - contact artist on website
Pastel on blue toned Canson paper. Approx. 24” X 36”
I created this with a particular chalk scratching technique; adding little bits of colors without committing too much, until finally I’ve scratched myself an entire picture.
This piece concerns the allegory of “Plato’s Cave.” His face illuminated, the figure turns away from the false images generated by others, and looks towards the Light of Wisdom that shines in at the mouth of the cave. We must find our own answers in life. This figure is the personification of myself, when I started to realize the absolute objective truths in my own life.
I also have a theory that perhaps Plato foresaw the rise of TV and movies...
Pastel on yellow toned Canson paper. Approx. 24” X 36”
This is a plein air landscape I created when I was at Foothill College, Los Altos. Realizing the tree’s true colors is what brings this piece to life. Barely a month after I finished this scene the foremost tree fell down in a storm; turns out the whole trunk was a huge bee hive. The tree took out the bridge right where I had been standing. I saved a piece of it’s bark…
Pastel on Canson paper. Approx. 24” X 36”
I created this piece by laying down the flat edge of the pastel chalks and heavily layering colors together.
This is a commentary about how women are generally considered the spoils of war; women give birth to their own conquerors. One woman wears a religious robe while the other woman was born into wealth; this signifies how war can bring down both the religious and the rich.
Awarded the League of Innovation Certificate of Outstanding Merit Award - 2009
Pastel on green toned Canson paper. Approx. 24” X 36”
Another piece where I employed a light-weight chalk scratching technique, layering many colors.
This is an anti-war piece.
Inspired by a photo I saw on the Reuters news site years ago, it showed a young Palestinian girl holding a gun; in the background jeeps, trucks, and armed military personnel. The photo said it was the one year anniversary after the death of a Palestinian official, who also happened to be the little girl’s father.
The look in her eye struck me, and I knew I had to draw her. My drawing shows her at an older age, and I left the background blank except for a golden glow; it’s meant to be a “pregnant” void that anything can happen in.
I feel that all children are the real losers in any war, regardless of their nationality, religion, or political position. When a baby is born into war, they have no childhood; they must become an adult immediately, to survive. With some youth knowing only bloodshed since birth how can they envision and work towards peace?
Watercolor on Arches watercolor board. Approx. 3’ X 4’
Many, many washes of color created this piece; the paper was so thick it sucked away the moisture in the paint, drying almost instantly.
This is an allegory concerning the future of man. This human is the last of his kind, looking towards the work of his hands to save him, while turning away from the Light of Wisdom that illuminates his back. Is the figure rising or falling?
Gouache on watercolor paper. Approx. 2’ X 3’
A monochromatic study, a triadic study, an analogous study, and a complementary study of color.
I used a light board to create identical copies of my subject.
Four portraits of Andy Warhol grouped together into one piece.
Watercolor pencil on watercolor paper. Approx. 9” X 12”
This is an anti-war piece.
The image shows the split second after the detonation of a nuclear bomb. The man’s outstretched left arm and hand displays the bones, X-ray’d from the intense light. His eye lids and lips already vaporizing; his face frozen in a rictus of pain. In another moment he’ll be gone. The weapons Mankind crafts work too well…
Watercolor pencil on watercolor paper. Approx. 5” X 9”
This is a study I did between warm and cool tones.
Her hair of living flames this goddess coolly contemplates the present times.
Watercolor pencil on watercolor paper.Approx. 9” X 12”
I painted this scene in about eight hours, from initial graphite drawing to watercolor fill-in; I wanted to see how fast I could create a finished painting. I took bits from four separate reference photos to stitch together this final image.
Watercolor on paper. Approx. 6” X 9”
A small study I did, practicing wet on dry technique. Impressionistic landscapes are great in any medium, because there are not too many straight lines in Nature; imperfections blend into the overall scene.
Watercolor on watercolor paper. Approx. 18” X 24”
Attempting to copy another art piece is a great way to learn technique; the Masters were encouraged to copy great works in museums of their times. I saw this beautiful water scene in an art book and wanted to create my own version. Leaving the white of the paper for the highlights can be a challenge.
Working on nature scenes brings me peace of mind.
Watercolor on paper. Approx. 6” X 9”
Watercolor pencil on card stock. Approx. 6” X 9”
Paper mache and Tombo brush pen on compressed board. Approx. 15” X 15”
Graphite, watercolor, and Tombo brush pens on watercolor paper. Approx. 9” X 12”
Many, many hours spent stippling markers over washes of watercolor paint gives this piece a highly detailed, and sensitive approach to one of this planet’s most beautiful creatures.
This is the first in a series entitled “Earth’s Spirits.”
I feel that all of the animals who evolved on this planet carry the original spark of life generated from this world; they are the caretakers of the Earth, not humans. Animals are self-aware; they feel emotions, they experience love, grief and pain just as we do. As each animal draws closer to extinction our own extinction draws near, as well.
Oil on compressed board. Approx. 18” X 24”
Water and dirt; the two things needed for life on this planet.
Acrylic on compressed board. Approx. 15” X 15”
This is a commentary on the disaster British Petroleum wreaked in the Gulf of Mexico, when their rig the Deepwater Horizon exploded back in 2010. Streams of dead marine life surround the Earth, pouring oil into a human skull that embodies us. The dollar sign spouting from the drill underlines how money is considered more important than life itself.
Acrylic on compressed board. Approx. 15” X 15”
This is a larger study I did of an image from a six-piece book I designed; the book itself is displayed in Portfolio 4. Embryos reoccur in many pieces of my work; they symbolize our fragile existence.
Oil on canvas. Approx. 20” X 36”
We’ve enclosed ourselves in a prison of buildings, where no plants can grow. The statue symbolizes the Human Race; our arms taken from us so we cannot fight back, our legs gone so there’s no way to run.
The torn bodice with the monstrous face signifies how the things we have created have come to life; we cannot tear them from our bodies, as they twist around our neck, cutting off our life.
Inside every darkened archway and window a horror lies in wait, but do not venture underneath the dais the statue sits upon, for there resides the true terror…
Oil on canvas. Approx. 15” X 24”
A peaceful sunny day along the coast in Malibu, CA. off Highway 1.
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