There is something tricky and mystical in an accurate performance. It happens in all the arts. My motive is to tap into my gut feelings and fearlessly demonstrate resistance to mediocrity, fantasy, tyranny, nihilism. I am an interpreter of gut feelings. It has something to do with our animal/civilized ~ inspiration/application dichotomy. The inspiration comes from animal awareness, application is a civilized act. Never mind the tension between the two. Never mind the medium. You can tell where a painting or a performance is coming from, and whether it's inspired or not. Ideally, it achieves the perfect balance, which comes from practice. I am a multi-media artist. I make music, paintings, movies, photographs. I am driven and lazy at once. I have packed three lifetimes into one. I dropped out of high school, earned a BA in Lit, studied visual history and applied arts, with a camera lens at my eye. I see a story to be told everywhere I go. And in my mind, alone, I cherish sheer being, the joy of living and seeing the constant unfolding drama. I respond in the moment, tempered by a lifetime of experience. I understand our origins and Originality. I marvel at the the state and rate of evolution. Sometimes (most of the time), I am compelled to shock the complacent, the unfree, the intolerant. I want to elicit strong emotions. I think people get too wrapped-up in themselves. I want to move them with a picture or a song. Maybe it will make them more thoughtful, more perceptive, less crazy. My work has to be more than just entertainment. It has to be compelling, touch the core human nature. I'm not trying to create a mood. That's on the viewer. I have nothing to lose.

Technically, it's all about framing an image and balancing the objects within the frame so as to create an alternate 3-dimensional reality. I like settings that aren't normally considered beautiful, and those that are seen at a glance. I want the viewer to wonder what they're looking at, then realize that they see stuff like that all the time. Why? Everything is beautiful if you frame it right. Utopia is within reach, if you're paying attention! I prefer black and white to color, and it wasn't that difficult to transition from actual film to digital. It's all about the dots. The lens determines the dots. Digital photography expands the texture of the photo. You can make it look like a painting, while preserving the actual event. I don't use photoshop. I want to preserve the image content as seen with the naked eye at a specific time. It's important to know that the thing being photographed actually existed in real quantum time. It was not a figment of someone's imagination. It stood alone, and I proved it. I use the most basic Imac onboard tint/contrast/exposure controls to bring the image to life. I also experiment with images while in motion. I call it Blurrealism, and/or Irrealism. I’ have a series of photos taken from a moving train. Such an image can contain both blurred motion and static detail, emoting a blurreal or irreal sensation. There are no people in these photographs.

I feel that I'm finally getting somewhere.

1974, Student Show, Oakland University, Rochester, MI

1989, Red Zone, American Gallery, Los Angeles, CA

1996, Annual, Museum of Art and History, Lancaster, CA

2019, Solo exhibition, SMUDGE, 478 gallery, San Pedro, CA

2020, Annual, Sebastopol Center for the Arts, Sebastopol, CA