Biography
I have been painting since the 1970’s. A fourth generation native Southern Californian, my work follows the paths of Minimalism and the Light and Space Movements while finding its roots in Southern California’s natural environment and my early experiences as an athlete, competitive surfer and extreme skier.
I exhibit my work internationally, with over 60 shows in galleries and museums since 2020. Exhibitions in 2024/25 include the 23rd and 24th Japan International Art Exchange Exhibition at the Tokyo Metropolitan Art Museum curated by Julienne Johnson with chairman Katsu Shimmin; the Museo Camuno, Breno Italy; Galerie Diderot, Orquevaux, France; The Korean Culture Center, The Marks of our Time, a cross-cultural exhibition sponsored by The Los Angeles Art Association in partnership withART1307 Cultural Association, held first in Los Angeles, CA and then in Naples Italy. Curated by Cynthis Penna, consultant for contemporary art Centro Museale MUSA Portici.
I am a graduate of the University of Southern California, and studied fine art at UC Irvine, UCLA, Pasadena City College, the Art Center of Design, Hunter College, and the School of Visual Arts in New York. While in New York, I studied under John Baldessari, and worked at Vogue Magazine under Diana Vreeland and Richard Avedon.
My life experiences of extremes has brought with it a consciousness of the edge - and its implications both physical and psychological. My paintings seek to both explore that edge and to push beyond it - tapping into experience (both physical and mental) and tracing them to the present. My process, along with materials, are important, as each change nuances the work - much as each shift of the edge of a ski changes the tracks and excels the speed or slows it down. The sound of glass bead gel applied with a palette knife is reminiscent of the kinesthetics skiing on hard packed snow.
I paint with brush and knife, often using materials influenced by the surfing and skiing industries: fluorescent sprays, iridescents, epoxy resins, beaded glass gels, and inks. Combined with oils, inks, acrylics, pastes and fluid and matte mediums, these materials achieve the luminosity in my paintings: the glare of the sun on a gritty Los Angeles street; the iridescent grunion in the Pacific waters at low tide; the dangerous grayness of a whiteout in the High Sierras. When viewing my work under natural light, the paintings change and play off of one another creating an optical effect. Highly nuanced color, texture, shape and movement reveal themselves as the light - or the viewer - subtly shifts and changes position.
I have been painting since the 1970’s. A fourth generation native Southern Californian, my work follows the paths of Minimalism and the Light and Space Movements while finding its roots in Southern California’s natural environment and my early experiences as an athlete, competitive surfer and extreme skier.
I exhibit my work internationally, with over 60 shows in galleries and museums since 2020. Exhibitions in 2024/25 include the 23rd and 24th Japan International Art Exchange Exhibition at the Tokyo Metropolitan Art Museum curated by Julienne Johnson with chairman Katsu Shimmin; the Museo Camuno, Breno Italy; Galerie Diderot, Orquevaux, France; The Korean Culture Center, The Marks of our Time, a cross-cultural exhibition sponsored by The Los Angeles Art Association in partnership withART1307 Cultural Association, held first in Los Angeles, CA and then in Naples Italy. Curated by Cynthis Penna, consultant for contemporary art Centro Museale MUSA Portici.
I am a graduate of the University of Southern California, and studied fine art at UC Irvine, UCLA, Pasadena City College, the Art Center of Design, Hunter College, and the School of Visual Arts in New York. While in New York, I studied under John Baldessari, and worked at Vogue Magazine under Diana Vreeland and Richard Avedon.
My life experiences of extremes has brought with it a consciousness of the edge - and its implications both physical and psychological. My paintings seek to both explore that edge and to push beyond it - tapping into experience (both physical and mental) and tracing them to the present. My process, along with materials, are important, as each change nuances the work - much as each shift of the edge of a ski changes the tracks and excels the speed or slows it down. The sound of glass bead gel applied with a palette knife is reminiscent of the kinesthetics skiing on hard packed snow.
I paint with brush and knife, often using materials influenced by the surfing and skiing industries: fluorescent sprays, iridescents, epoxy resins, beaded glass gels, and inks. Combined with oils, inks, acrylics, pastes and fluid and matte mediums, these materials achieve the luminosity in my paintings: the glare of the sun on a gritty Los Angeles street; the iridescent grunion in the Pacific waters at low tide; the dangerous grayness of a whiteout in the High Sierras. When viewing my work under natural light, the paintings change and play off of one another creating an optical effect. Highly nuanced color, texture, shape and movement reveal themselves as the light - or the viewer - subtly shifts and changes position.