Drawings serve various functions for me. First, they often provide a method by which to quickly formulate and materialize an idea. I often need to experiment with certain shapes and feel out how they work inside a composition. Drawing provides the means by which I can quickly visualize how a certain form works as a gestures,  as planes, as compound shapes, or as space. With drawing there is often a goal that is unknown, and through the process of the sketch, what is most lacking with reveal itself. Drawing is often a search for what are the weakest elements inside a composition. This often makes them undesirable for presentation, but occasionally a drawing survives.  


Apparitions & Manifestations

I am drawn to the human figure because it provides some of the most interesting shapes that the viewer is fundamentally curious about. When a figure or a form becomes interesting to me, I often need to experiment with its function inside of a given composition. Its function is decided by its orientation, its placement, its cropping and its scale. And all of these decisions are guided by the nature of what I am interested in revealing in a completed painting


Studies for Paintings

After working through individual elements and objects, by means of sketches, photographs, and models of various kinds, I begin to work on proportional studies that address each element that I intend to include in the painting.This includes determining the exact point of view in relationship to the horizon line, real or imagined, determining the exact overlap of objects and articulating the spaces around and between objects, and creating the best proportions to emphasize the composition. The sketches then seek to work out the effects light and darkness have on creating forms that move through the composition seducing the eye.


The Italy Sketches

In 2007 I studied abroad in Italy while attending the University of Pennsylvania. The works of the Italian masters provided unparalleled examples of formal mastery, and I studied them with a vivacious hunger. I was drawn to the architecture for its ornate and elaborate beauty expressed in monumental forms. The sculptures provided me with the opportunity to chose the point of view which revealed the greatest expression of forms, from which I was then able to draw in two dimensions. And Finally, I copied the paintings of Titian, Da Vinci, and Fra Flippo Lippi with a dedicated interest in how these artists imbued their work with such vibrancy that the 400 some years separating the creating of the work and myself seemed to vanish.