I seem to remember that when I was young I would imagine that the world of which I was a part maintained a form independent of my perception. Further, I concluded that it was possible that my perception of that world was unique to the extent that another individual perceiving existence through my mind would find little or no reference for understanding that perception.

 At the time, these ideas had little significance and no apparent practical function in life. Art was the control of line and materials – a manifestation of hand-eye coordination in representing the visible world. Perception was taken for granted, and understanding was not necessary to my craft.

 I didn’t notice the deficiencies of these conclusions back then; for, like the inhabitants of Plato’s cave or the slave born to a slave subculture, my awareness was severely restricted by experience. Restricted in a way that can only be perceived and understood from without. One must be content with that view of life through one’s rear-view mirror.

A half century has passed, and millions of brush strokes have brought a familiarity and understanding of materials which help change ideas into art. The visible world has been represented thousands of times, and experience has provided an expanded awareness.

 Such an awareness includes a broad range of human experience as well as the heights and depths of human emotion. It is to this insight that my paintings allude. Like a quick sketch drawn in the sand, they provide a simple representation of how the world appears from one place within it.

 From this perspective, things represent themselves in a great clamor of activity which suggests some sort of disorder. At the same time, I can perceive a most complex order in everything around me. The apparent contradictions of these impressions are what my paintings seek to reflect. They describe a vision of spontaneity of color and simplicity of form which compliments the underlying complexity of the color relationships and balanced design structure forming the foundation of the essentially two-dimensional images. The scale of my paintings represents an effort to immerse the viewer in an environment which can fill the vision and saturate the mind.

 Most of all, my paintings describe a transition, a metamorphosis of the way in which images are treated. And that metamorphosis is a symbol of the development of the artist.