I grew up with this Lalique vase in the entryway to our home. It was one of several pieces that my Grandmother bought in Paris in June of 1929. I know this because my father told me. The time of the purchase seemed significant as it was only a few months before THE CRASH. Later I discovered a receipt, which seems to be about the delivery of several other Lalique items — an ashtray, a box, and a perfume bottle — to her room at Hotel Crillon.

I’ve been dealing with having an artist website since the days of dial-up. No matter how beautiful your site is, or how much work you have done on it, no one is going to see it if you don’t pay attention to how you website is found and recommended in the search engines. This part of my job makes my eyes bleed, but I have finally decided to tackle the nemesis of SEO.

This is what I have learned so far.

The blog post describes how the author's experience at Giverny inspired a series of boxing paintings, influenced by the colors and atmosphere of the impressionist style.

The blog post discusses a photograph of a glassed-in advertising kiosk in France, which the author interprets as a trompe l'oeil painting and compares to the works of Kandinsky, emphasizing the importance of subjective perception in photography.

I've been having conversations with Giotto di Bondone (c. 1267 - 1337, born in Florence, Italy) since I was twelve years old and my class studied the Renaissance. The conversation became obsessive when in 1987 I created a cycle of paintings recreating the paintings of the Arena Chapel on seven shaped canvases, the largest of which is 18 by 24 feet.

I lost the use of both thumbs and my hands were in splints for several months.

I knew that my ability to paint was not just in my hands, nor was I the first artist to face this limitation. Renoir suffered from rheumatoid arthritis and his brush had to be strapped to his hand. Chuck Close became a quadriplegic but regained use of his arms. He, too, strapped his brush to his hand and paints, sometimes guiding the right hand with his left.

Over the last year I have had several versions of an exhibition that I call, Continuous Flow. The first in Boston at Soprafina Gallery, the second and largest at SUNY Oneonta, and in April, a third at Gremillion and Company, Fine Art, Inc. in Houston, Texas.

These shows came at an interesting time for me. In 2017, as I was preparing for these exhibitions, I lost use of my hands for six months. I had double trigger thumbs, which meant I could not bend my thumbs, write my name, or hold a brush. What to do? I kept working.

One day I was moving paintings in the "gallery space" of my studio  and I heard the words, "French Revolution". We had just been through a long spate of Trump tantrums and I believe it was that, as much as anything, that brought the French Revolution to mind. I love French history, and while I haven't studied the Revolution in many years, I spent the afternoon in a revery of free association. I was working on some large paintings that are mostly abstract, but with a representational association. And I was using a lot of metallic paint. I decided that I wanted to paint one of those wide, diaphanous skirts worn by Marie-Antoinette

I live in a very rural part of New York State surrounded by farms. The landscape influences my work, but not always in the ways you might imagine. I pass this farm on a back road to the next town. I have stopped a few times to photograph it. What I really love is how the corn crib looks in front of the silo. It is a curved grid in front of a curved grid. In this photo it appears quite abstract. I love a subject that is completely real and seems completely abstract.

From the start, I knew that I wanted to make paintings from the broken television "grid" photographs, but they posed a lot of technical difficulties. To begin with,  I paint in oils. Making a clean stripe in oil is more difficult than with acrylic paint. With acrylics you can mask out your stripes with tape and then seal it with a clear acrylic layer, then add your color and it won't bleed. That pretty much insures that you will have a sharp edge.

My paintings are about  light.

When I paint representationally and I am about the business of rendering light, I often choose a subject that is backlit. It seems to offer the most extensive and complex qualities of light - light on a surface, passing through a surface, reflecting off of a surface, often highlighting transparency, translucency, reflection, or glitter.

Several years ago as I crossed the Mall in Washington on my way back to my hotel, I decided I had to duck into the Freer Gallery of Art and Arthur M. Sackler Gallery, part of the Smithsonian, and see the Asian work there. On display was the Price Collection, on loan from Los Angeles. The first piece I saw as I entered the exhibition was "Pine and Plum Trees in Snowstorm" by Katsu Jagyoku, the 18th Century Japanese artist.

The room was dimmed and soft light fell on an enormous screen with branches and falling snow. I felt completely enveloped by the piece. I had both a calm and emotional response to it, a feeling that has stayed with me to this day.

Several years ago I decided that I wanted to do a set of lithographs based on a painting I did of an almond tree.  Having never made a lithograph before I thought I'd share the process with you and get your input along the way.

I made 4-plate lithograph, that I printed in different colors to represent different times of the day.  

I was raised to think that art history evolved linearly - a straight line from Giotto to Pollock. I was not prepared for the halting, meandering movement of a career in art, where you race forward with one idea, re-track steps, add something new, abandon a direction and end up end up in the middle of a hi-way clover wondering which way to go.