These artworks were never meant to be “paintings” in the traditional sense, but rather my conceptual interpretation of the traditions of painting. They are all narrative, depicting scenes moments before or after an imaginary event takes place.

Painting traditions from the Renaissance through the 20th century, from subject matter to frame design, have had a strong influence on my work.

Each piece is labor-intense, and involves many steps. I combine art-historical references with acrylic paint, photography, collage, watercolor pencil, graphite, marking pen, airbrush, and three-dimensional objects. I apply many layers of color-tinted acrylic glazes for a “juicy” surface.

I use chiaroscuro-the contrast between light and dark-to add extra volume and drama to the image. Each work is mounted on an archival cradled panel.

The outer frame constructions, which I call “Neo-Period Surrounds”, are designed, fabricated, and finished by me for each piece. They grew out of my love of art history and museum experiences. They extend the image and are an integral part of each piece.

The art historical concept is most notably depicted in my “Anti-Series,” when I “collaborated” with some of my favorite painters, incorporating portions of their work with mine.

In no particular order: Wassily Kandinsky, Odilon Redon, Peter Bruegel the Elder, Max Ernst, Hieronymus Bosch, Joan Miró, Pablo Picasso, Francisco Goya, William Blake, Albert Pinkham Ryder, and James Ensor.

The “Anti-Series” consists of nine mixed-media paintings that evolved over a long and complicated period in my life. It was a dark time. After 9/11, the paintings I had begun as daylight scenes gradually became nocturnal and moody. I worked and reworked them many times over the years.

My painting is moving in a new direction. I’m like a little kid at Christmas, anticipating opening up all those art-filled packages.