Works on canvas begin as abstract field painting using fine pigments and metal lusters in translucent washes throughout many layers, an atmosphere is established.  As the layers build, the work incorperates several different photo transfer methods, from the labor intensive gel medium transfer to the very caustic acetone transfer. Images can be stressed and manipulated to add dimension and then layed into the painting on layers of fine Japanese rayon paper. Ribbons embossed with numeric patterns are cast in acrylic using rubber molds, bonded with a painting, and then leafed with lustrous metals. Acid patinas are often applied to the metal and then sealed, capturing various stages of deterioration and  verdigris. Frequent gloss coatings are necessary throughout the layers to not only  seal and protect images, but to add depth, and allow more light to refract within the painting. Most imagery originates in the artists own photography catalogue, others are collected from archives of ancient alchemical art, early 20th century catalogues, field guides, medical and scientific texts, etc. This work is rich in detail, involving technical aspects acquired through years of studio practice and experimentation.   It has a deliberate tactile quality that hinders reproduction and contributes to an enhanced personal experience with the work.

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