Empty Saddle, 2025.
Acrylic, rain, aerosol, oil crayon, color pencil and applique on archival scroll
50 1/2″W x 84″H, 2025.
A medieval manuscript equestrian image (flipped) embedded in a 2025 Los Angeles competition winning jump.
Detail image: GETTY Center MS 116 folio 206v.

GOLD RING, 2025.
Acrylic, rain, oil crayon, color pencil, pastel on archival scroll 50 1/2″H X 84″W.
Image Source: Rothschild Mahzor 1490, MS-8892 folio 074v (currently on display at the Met, NYC).

Sightings and the Politics of Epiphany:

My fascination with the human capacity to attribute consequential meaning to unusual visual experience and extreme natural events is akin to Sightings:

Pigment and Earth:

Acrylic, river clay, rain, aerosol and organic material
on flood stained archival paper scrolls, 50 1/8” W x 7’H,  2008-2015

Selections from  WRECKTIFY solo exhibition @ H-Art, Peekskill, NY, 2010-2011

My studio, a 200 year old barn overlooking the Hudson, provides hugely inspirational access to nature’s fleeting whims, that I reflect in surfaces of my work. I harvest clay that oozes from River cliffs, and blend this earth with acrylic glazes. I work outdoors in storms on flood stained, heavy weight archival paper scrolls that are impacted by wind, rain and hail as I paint. Rips and tears are often gilded or embellished rather than hidden, based on kinstugi, the Japanese tradition of fusing cracked ceramics with a gold vein, transforming damage to treasure.The chaos of Creation, reclamation, and light emerging from darkness, are themes in these works that are rooted in my own physical and psychological development. As responses to the huge drama of light and weather on the Hudson, they also reference Creation stories across a wide cultural spectrum.