*Your educational experience in PAFA (MFA 2004), University of Pennsylvania (BFA 1995), and PAFA (CFA 1986)—how have they influenced your artistic philosophy and practice?*
My educational path, beginning with the Certificate program at PAFA in 1986, laid the foundation for my artistic discipline. PAFA’s rigorous focus on traditional techniques—drawing from life, anatomy, and composition—sharpened my observational skills and instilled a deep respect for craftsmanship. That classical grounding continues to influence my work to this day.
At the University of Pennsylvania, I was able to expand my visual vocabulary and engage with contemporary art theory and critical thinking. The interdisciplinary nature of the BFA program there encouraged me to think beyond technique and form, and instead explore how meaning is constructed and conveyed in art. It was at Penn that I began to see my work not just as a technical exercise, but as a form of visual language capable of dialogue and interpretation.
Returning to PAFA for my MFA in 2004 allowed me to synthesize those experiences. The program supported a more personal, conceptual exploration of my practice while still maintaining the respect for form and process I had developed earlier. It was a full-circle moment that helped me articulate a more mature artistic philosophy: one that balances formal discipline with expressive intent. Today, my work continues to reflect this blend of tradition and innovation, rooted in craft, but always seeking to push boundaries.
*What initially drew you to oils, and how has your relationship with the medium evolved over your career?*
What first drew me to oil paint was its depth, both visually and physically. I was fascinated by the richness of color, the way light plays through the layers, and the tactile quality of the medium itself. Oil allowed me time to think, to revise, and to build complexity into a piece gradually. That flexibility was crucial in the early stages of my development.
As my career progressed, my relationship with oils deepened. I began to understand not just how to use the medium, but how to let it guide me. I've moved from a more controlled, academic approach to a process that's increasingly intuitive. Oils now feel less like a tool and more like a collaborator. They bring a certain unpredictability that challenges me to stay present and responsive in the moment. Over time, it's become less about mastering the medium and more about engaging in an ongoing conversation with it.
*"You work across styles like functional surrealism, Dutch realism, abstract expressionism, cubism, and romanticism". How do you decide which style to pursue for a given idea or subject?*
“I don’t decide on a style before I begin; the subject often dictates it. Some ideas emerge with a sense of weight or narrative that demands the quiet precision of Dutch realism, while others are so emotionally charged or conceptually abstract that only expressionism or surrealism can hold them. Functional surrealism lets me explore metaphor through design and symbolism, while cubism helps when I want to deconstruct form and perspective to see something anew. I think of style as a set of tools, not identities. The idea leads, and the style follows.
” *Script Gesture is a New oil Painting Method for you. Could you walk us through the key steps of this approach and its benefits?*
* SCRIPT GESTURE PAINTING* 1. *Gesture Drawing Foundation* - The painting begins with a *loose, dynamic sketch* using sweeping, calligraphic strokes. - These lines are expressive and fluid—like handwriting—capturing movement and rhythm. - This "script-like" under drawing sets the emotional tone and energy of the piece.
2. *Value Mapping and Structure* - Blocking in basic lights and darks using monochrome tones (grisaille or limited palette). - Maintaining the gesture lines as a structural guide while clarifying composition. - This stage focuses on form, depth, and clarity, without losing the vitality of the initial gesture.
3. *Layered Brushwork and Color Introduction* - Color is gradually introduced, often using transparent glazes or thin layers to preserve underlying marks. - Brushstrokes remain expressive—each stroke meant to evoke a sense of *motion* or *intent*. - The technique encourages visible "calligraphy" in the brushwork, much like Asian ink painting or automatic writing.
4. *Controlled Abstraction & Emotional Content* - The final stage may lean toward *figurative abstraction*, balancing realism with spontaneity. - Emphasis on mood, emotion, and narrative encoded in the gestures—akin to a visual "script."
*Why is Material Longevity important and following the laws of Permanence?*
*Material Longevity* is essential because it speaks directly to the integrity, sustainability, and legacy of what we build— what lasts, matters. Following the Laws of Permanence is what gets you there.
*"Your neo-surreal cubist portraits, like 'Introspective Man' and 'Man with High Anxiety', seem emotionally charged. What themes or human experiences are you exploring in this series?*
“Those portraits reflect the fractured emotional landscape of being human. I use cubist distortion and surreal elements to externalize inner states — anxiety, reflection, disconnection. Each face becomes a kind of emotional map, revealing what can’t always be said outright.”
*Your still life’s especially those with fruits and flowers, are catalysts within your creative process. Explain how these motifs spark visual ideas or emotional responses.
* Fruits and flowers in my still lifes aren't just decorative subjects—they’re vessels of symbolism, memory, and mood. They carry cycles of life, decay, beauty, and transience, which mirror human experiences. When I arrange a still life, I’m composing more than objects; I’m orchestrating tensions between color and form, light and shadow, growth and decline. The fragility of a petal or the ripeness of a pear can evoke anything from nostalgia to quiet contemplation. These motifs spark visual ideas because they demand attention to texture, light, and composition, and they trigger emotional responses because we instinctively connect with their impermanence and familiarity. In that sense, they serve as meditative anchors in my creative process—both grounding and inspiring the work."
*Photography is also listed among your specialties. How does photographic work interact with or inspire your painting technique *
"Photography plays a crucial role in how I approach painting—it’s both a source of inspiration and a technical tool. When I photograph a subject, I’m not just capturing what’s in front of me; I’m studying light, form, and atmosphere. These photographs often become references for paintings, but I don’t replicate them exactly. Instead, I interpret them, allowing memory, emotion, and imagination to influence the translation from photo to canvas. Photography sharpens my observational skills and helps me notice subtleties in shadow and composition that might otherwise go unnoticed. At the same time, painting slows me down and makes me engage more deeply with the image, adding layers of feeling and narrative that a photograph alone might not convey."