Soft Ball 20×19 casein/resin
Bridgeport 22×18 casein/wax
Beached 17 x 22 Casein/wax
Back Pond 17 x 20 rye tempera
Hillside 31×21 casein / resin
Red Tug 18×17 casein / resin
Boulder Basin 20×20 casein/wax
“Post Flood”
rye/wax tempera
20″ x 25″
Florida. casein/resin. 37″ x. 37″
Fishmarket. casein/wax. 22″ c 30″
Boatworks. casein. 22″ x 23″ SOLD
Lumberyard. 31″ x 32″. casein/resin
Sertatude casein 20″ x 24″
“Basin Red”
casein/wax. 22″ x 18″
“Lake”
casein/resin 38″x 38″
Sealy’s Last Sleep 22″ x 26″ casein/resin
Mattress al Fresco casein/resin 20 x 25
Railroad. casein. 22″ c. 28″ SOLD
Used Car 16×21 tempera
“Inlet” casein/wax. 22″ x 17″
Interstate. 27″ x 25″. casein/wax
Semi’s retirement casein/wax 22″x 22″
Key West casein, wax
Canal
“Apartments” casein, beeswax on paper 21 x 26
Green Drum sold
Lumber Shed
Newstand 29×29 tempera on paper
Lawn 22″ x 23″”. casein
Lakeside Afternoon tempera 22″ x 18″
Upholstery
San Francisco
Boardwalk’s End SOLD
Preston’s Dock SOLD
As a painter, my work has had only one source of imagery: my immediate surroundings – the sort of thing usually known as landscape or cityscape. But underlying the scenes that I select, and even more so the completed paintings, is a strong abstract pattern or arrangement that should impress itself on the observer a moment before the scene itself is recognized. I have therefore found it best to observe and sketch outdoors but to develop my paintings in the studio where the essential conception can unfold without distraction or ” information overload”.
I have worked in recent years exclusively in water-based media that I formulate myself from simple natural sources such as cherry gum (gathered from local trees), casein, egg, and wheat or rye paste; all of these usually mixed with pine resin, beeswax or linseed or walnut oil to create tempera emulsions ground with dry pigments.