Romantic Seascapes
Though my art had, until recently, included creations of characters, calligraphy, portraits, fantastic monsters and book illustrations, nothing ever really resonated with me nor expressed my inner-most soul so profoundly until I began to study nineteenth-century Romantic landscape painting in 1992. It wasn’t until I visited Grand Manan, New Brunswick, in the summer of 2002 however, that I discovered my true calling as a painter. I knew that as an artist I was meant to express my own passion by painting nature’s drama. That realization, for me, began on this little island in the Bay of Fundy. I created twenty paintings and drawings to visually express my emotional reaction to the beauty, the variety, the limitless faces of nature, miraculously embodied in this unusual place. I hope that my passion is passed on to you, the viewers, so that you will never forget my, nor your, encounter with Grand Manan.
Click here for Black & White Drawings of this series

Leprechauns
My collection of leprechaun images is a fascinating group of leprechaun portraits of a family whose roots are in the Emerald Isle. Though they have lived in and around the Wicklow mountains for the past 2000 years, they have been convinced by their American cousins to send some of their offspring across the Atlantic and establish a new branch of the family for various leprechaun activities.

Color Portraits
My colored portraits cover personalities from Edgar Allan Poe to Albert Einstein and Joe DiMaggio. I call them historical figures because they are not limited to this century, or any other century for that matter, and are composed of the faces of significant figures in history, no matter what their accomplishments.

Black and White Portraits
My black and white portraits are historical figures similar to what I include in my Color Portrait Gallery, but these are done in a different medium, pen and ink as opposed to watercolor and colored pencil, and in a different style. I felt that these people, in particular, possessed a more classical character in their faces, the period in which they lived or merely from the fact that their images lent to the medium in a unique way. These black and white pen and ink drawings are carrying on in the tradition of 19th century American and European illustration.

Conglomerates
Conglomerates are spontaneous compositions of various themes in which I have either chosen a specific subject to address or have simply let my imagination and skill fly to its limits to create an image that is compelling, entertaining, and evocative. Usually, the entire space is filled with figures, faces and patterns. adding to the unusual approach, although the images are all “supposed” to be viewed from one direction, the compositions can also be rotated so that the viewer discovers new elements within the picture that were virtually invisible before the rotation.

Jerusalem Series
The series of scenes of Jerusalem were originally part of group of 10 images created to relate the special love that I have for that place. Primarily, painted on toned Canson paper with Prismacolor, the style is extremely conductive to the creation of mood and emotional atmosphere and a strong sense of spirituality in a work of art. Every person that has any personal, historical, or cultural connection to the ancient sites of this timeless city can appreciate the special quality of these paintings.

The Georgia Coast
I am currently working on a series of coastal scenes of Georgia. The Southeast coast of the United States lacks the dramatic presence of ancient granite cliffs and rocky shores of the Northern coast, especially New England, but it does possess unpredictable and extremely changeable weather. This weather can suddenly explode almost totally unexpectedly over the low-lying marshes and shore and can be just as dramatic visually as the shores of Maine or Massachusetts. It is that kind of drama, as well as the wonderfull contrasts of color between the brilliant southern skies and green marshes that I am attempting to capture in my series of watercolors. As a stylistic model, I look to the work of 19th century American marine painter, Winslow Homer, whose masterpieces are ingenious examples of simple but powerfull compositions. Homer uses very little color, but what he uses he uses brilliantly. What better teacher could be found?