Background

Educational background

  • BA University of Colorado Boulder, Fine Arts 1969
  • Studied printmaking under Wendell Black, MFA Univ. of Iowa
  • Studied water-media painting under Gene Matthews, MFA Univ. of Iowa
  • Teaching Assistant, Painting, University of Colorado 1973-74
  • MFA University of Colorado Boulder, Painting and Printmaking 1974
  • Studied painting under Gene Matthews; Frank Sampson, also MFA Univ. of Iowa

Art Exhibitions

Denver Art Museum

Watercolor USA

Perth, Australia Drawing Exhibition

William Kasten Gallery, Cherry Creek, Denver

CPC, Chicago Printmakers Collaborative

Grinnell Arts Center

Iowa City Press Co-op

Figge Art Museum

University of Iowa Health Care (Hospital Complex)

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Range of Focus

Drawing, 1967, 10″ x 12″
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“Dragonfly”, 1968, acrylic on paper, 22.5″ x 30″
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“Sand“, 1973, acrylic painting, 22.5” x 30”
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“Grid 1974″, acrylic on paper, 22.5″ x 30”
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“Grid 1974″, acrylic on paper, 22.5″ x 30”
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“Side-by-Side”, 1977, charcoal on paper, 16″ x 32″
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“Side-by-Side”, 1978, acrylic on paper, 16″ x 32″
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“Pit”, 1982, acrylic on Masonite, 2′ x 4′
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“Tudor Window”, 1991, acrylic on Masonite, 32” x 48”
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“Church Ceiling”, 1992, acrylic on Masonite, 32” x 48”
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I’ve explored a wide range of graphic themes, many of which were developed in extended series, but what emerged early was a spatial configuration that I named “space-stacking”.

Our normal vantage point is on the surface of the earth utilizing a multi-point perspective, i.e. the Renaissance window: accurate, natural, well-practiced in all forms of visual endeavor. But, there is a more primitive, archaic form of spatial depiction that is child-like in the placement of objects above, not beyond, to represent distance from the observer. This orientation has allowed me to map my abstract intentions onto invented scenes that recently have incorporated fences, trees, clouds, etc. in a purposeful, if slightly artificial, manner as in the examples below and in the Iowa City paintings.

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“Fences”, 1974, acrylic and airbrush on paper, 22.5”x 30”
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“Fences”, 1978, pastel and spray paint on paper, 14″ x 28″
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“Tree”, 1990, linocut, 12” x 16”
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22″ x 30″

Favorite Influences

My favorite influences are Chinese paintings, Japanese Ukiyo-e woodcut prints, Jean Dubuffet, Howard Hodgkin, Paul Klee, Ben Nicholson, Francis Bacon, Barnett Newman, Agnes Martin, Robert Mangold and many more.

As a young adult I developed a strong appreciation of Mauricio Lasansky’s work, and in the early 1980s I met Mr. Lasansky and Phillip Lasansky in Iowa City. Eventually I purchased four of his prints over the next 20 years. My affection continues, which means I often visit the outstanding rotating collection of Lasansky’s work at the Cedar Rapids Museum of Art where I enjoy a membership.  It must be the foremost assemblage of his work anywhere.

Because of Lasansky’s long shadow in my life, we moved to Iowa City, IA, in 2017 to devote full time to expanding my personal art portfolio including some of my time being a member of the Board of Directors of Arts Iowa City.

Current Work

I am working on a series of 40 (current count) acrylic on paper 22.5” x 30” and 3′ x 4′ on Masonite paintings dealing directly with space-stacking. My method is to work on a flat surface, and one piece at a time. My current preference is to constrain the images by using 15, 30, 45, 60-degree guidelines for angled items and to tilt the plane up as much as possible in a vertical format. Some objects are collaged in a precise manner, and specific surfaces are developed by area before color is introduced. Paint is generally applied by brush then rubbed like ink in intaglio printmaking. Scrubbing and sanding are always used.

Experience has proven to me that I must tie my abstraction efforts to depictions of space so as to avoid the non-objective and decorative. The space is most important, and is spare, as are my methods. The “foreground” is at the bottom and the “background” is at the top. A supporting duality exists between structure and intuition. That Yin/Yang, for example as in clouds and gates or gates and trees, guides the location and amounts that each plays in the paintings.

“But, after all, the aim of art is to create space – space that is not compromised by decoration or illustration, space within which the subjects of painting can live.” Frank Stella, New York, NY