BIO

For about five decades now, the distinguishing characteristic of my paintings has been its departure from the planar rectangle—in the early '60s, I began showing my 3-dimensional shaped canvasses in galleries in New York and in Europe. It was recognized early on as revolutionary by a number of museums in America and placed in their collections.  It continues to be shown and collected by museums in this country and abroad.

My consuming interest in making these paintings is to establish the real sculptural space of the work in context with an illusory space and to show how these spaces interact. Through this process, I introduce the Einsteinian fourth dimension in that the difference of the natural light during a diurnal cycle or the peripatetic viewer moving in external space cause the perception of the image to change.

Though the works at first glance appear serene and placid, they are ever changing as the surface of the ocean or the expanse of the sky.  Ever dynamic, they are ever alive.
 

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