I was born in a suburb of Philadelphia. As a child, my family moved around, only to end up back in the Philadelphia area. My parents instilled a strong work ethic in me, which began with a paper route at 11, and led to my working full time throughout my high school and college years. I believe this has helped both with my development as a painter, and the formation of a cohesive body of work.
How would you describe your work?
The relationship between the interiors of buildings and the psychological makeup of the soul of man continue to be the fulcrum of my concept. For me, the interior of each edifice represents a multitude of semiotic messages written by the inexorable hand of time. In reality, buildings are as ephemeral as the ever-changing landscape, and the human form, prey to the vicissitudes of existence.
You’ve been to Chernobyl in Ukraine. Tell us a little about this trip. What series of events lead to you taking this trip?
The Ukraine was a welcome sojourn from my daily existence in the occident. The trip provided me with an abundance of subject matter, as well as an experience I will never forget. Standing atop a high rise in the middle of an abandoned city, can be a truly overwhelming experience. It was very hard to remain focused on the task at hand-gathering source material-and not become engulfed by all of what had happened in the Zone of Exclusion. My heart goes out to all of those who perished, suffered, and continue to suffer because of man, his avarice, and his insatiable thirst for power.
Tell us about a memorable experience you’ve had…
When evaluating a building, always make sure that it is unoccupied. Early one Thanksgiving morning, many moons ago, I received quite a surprise, when two men with cell phones came barreling out of a building.
I had been considering the structure’s potential for quite some time. Because of its close proximity to a thriving-well, I don’t know if thriving would be the best word to describe it, but let us remain positive-neighborhood, I felt it was best to attempt to gain access at an early hour, on a holiday. I surmised that most would still be fast asleep. My girlfriend was filming a documentary of my process, and thus decided to tag along. I brought along my mastiff, Tolstoy, as well.
What about industrial decay appeals to you? The amount of abstraction within a subject deemed representational; the relationship between something manmade, and the elements that Mother Nature has at her disposal; the ability to toy with fact and fiction weft together by the irrefragable hands of time. Structure is metaphor.
What advice would you give to anyone considering going to school vs. independent study?
Tell us a little about your experiences as an art teacher.
Have you had any other careers, related (or not related) to art?
How do you stay involved with Philadelphia’s art community? Are you a member of any local arts organizations?
At the nascent point in my career, I had a fortuitous bit of good fortune: I was able to sell several paintings on my own. I was grateful, but had the prescience to know that I needed to find gallery representation. I have received a tremendous amount of support from the two galleries that currently represent me: Wexler and Lawrence Asher.
I have also had some experiences with galleries and individuals who were duplicitous, and engage in a variety of subterfuge. Fortunately, I was privy to their game, either through friends, people who had already fallen prey to their deceptive ways, or my own intuition. Needless to say, I cannot name the aforementioned parties, as I would risk legal action. Suffice it to say, when journeying through the bowels of the art world, one must tread carefully.
What are your goals? What are your plans for the future?
(laughter) Some things are better left unsaid…
Books that have strongly influenced you?
Is there anything that you would like to share with our readers?
Do you have any upcoming exhibits? I am involved in a group show in Reading, PA. There are a few more in the works, but nothing definite.