Trained as a painter, my work in recent years has gravitated towards printmaking, particulary monotypes. In this medium I find that my intentions are often unrealized: chance and the inevitable transmutations inherent in the printing process play a significant and often redeeming role. These mostly abstract works are not intended as windows into space, but rather as beautiful objects which nonetheless evoke symbolic or associative feelings in the viewer.

Color has always been important to me as a means of expression, and I often develop my paintings and prints with this in mind: layering transparent colors to achieve striking color effects. My finished works result from a process in which the initial image-making is tentative and exploratory, a technique that lends itself to imaginative fantasy. I experiment with unusual techniques and materials to get illusionist effects which, I hope, will resonate with the viewer. This spontaneous process has allowed me to develop a visual language rooted in a universal, shared unconscious.


Traditional painting concerns itself primarily with the interplay of light and shadow on surfaces: the skins of fruits, people, the Earth itself. Even abstraction, which breaks with that tradition, has been largely confined to its own skin: the surface of the paper or canvas. Through unusual spatial juxtapositions, I try to portray not only what can be seen at the surface, but what lies beneath: the hidden and obscure, the dimly perceived, the unconscious and the mysterious.

Turning the Wheel of the Law, Tibet, 2013