Born in Boston, Massachusetts, I grew up in Thoreau’s Concord. Through my education at Stanford University, most especially living in Florence my sophomore year, and contact with the art historian/Rodin scholar Albert Elsen and artist Nathan Oliveira, I saw the history of art come alive and a world of possibilities, especially with color, opened before me.
Commercial fishing out of Martha’s Vineyard for the better part of 19 years (swordfish, conchs, scallops, etc.) gave me a sense of size, both large and small, and through necessity, greater problem solving skills. I worked in the off-season making sense of it all in my art.
I currently reside in Prescott, Arizona, where I create, print, and show my 3D art, and work at Yavapai College as Program Director of 2D Fine Arts overseeing and teaching drawing, painting, and printmaking.
What do we see? How do we see? How does our mind filter what we see, both collectively and individually? The process of making art has taught me much about the physical “hard-wiring” of our vision (the basics of vision) and its relationship to what we actually see in our minds. After a life of deconstructing form and emotion, I have come to focus on the process of stereoscopic art. With glasses that rely on color and only one image to create a 3D effect, I can paint and draw spontaneously in a “real” three dimensional space — the results have been startling and more in sync with my three dimensional vision of the world. I have turned to digital printing and Photoshop to create my images, seeing these prints as an offshoot of traditional printmaking: signed originals, one-of-a-kind or in small editions, on paper or metal. Armed with this new tool, I can tackle imagery that was cumbersome or impossible before: setting up overlapping figures in “real” space, letting the mind process the image as it does in day to day viewing (not just approximating the space because of what it “knows,” e.g. perspective). I draw and paint, scan the image into the computer, manipulate it, print it out, draw or paint back into it, and repeat the process as needed.
As a teenager I lamented the fact that no one seemed to see what I saw, what I experienced in the woods and fields of Concord, until one day I walked into the rotunda at the Museum of Fine Arts in Boston and saw Monet’s Haystacks for the first time. The colors of the air, the sounds of buzzing insects over still fields in sunlight that I experienced daily, I saw now in these paintings – “Finally, someone who sees what I see!” I exclaimed – I hope my art will validate someone else’s vision the way Monet’s paintings did for me that day in Boston.
We are what we see – we see what we look at….
drawing painting printmaking digital imaging sterioscopic images