'2025 marks my 37th year in the art business. Ups and downs are the making of an artist, through trials, experiments, ventures, many so personal and esoteric that it’s a bit obnoxious to invite an audience. For me though my marvel has been at the art world itself, almost as much as my surprise in self- discovery. In declaring what my work is in terms of genre, some pieces are a category to themselves. (I like the term “Contemporary Expressionism,” but then all art from a breathing individual qualifies there.) So much hangs by interpretation and taste-flavor of the moment, money in the next moment, and advertising’s tranquilizing hype the next. Possibilities are permanent and reliabilities not. This is the art world to me. I grew up drawing in the Great Lakes Regional city of Milwaukee, in the USA. Acrylic and pastel are my most frequent choices. My work touches an enhanced level when executed through impulsive unction rather than mandated routine, but routine is consistency and that equates heightened level performance also over a stretched-out time period. Kind of like the saying: “A miracle is an instant healing, and a healing is a gradual miracle.” Forcing it out by compulsion can usher a strain that digs me in and then there’s need to find my way out, whereas when the gifting is initiated on its own by impulsiveness there’s an explosive beauty about it from an immediacy in following through quickly on an idea. Much resume input has been lost with circumstances –names of galleries/museums and show titles, collections my work has found itself in, and so on. Many of my early productions I do not possess an image of, either. Again, time and circumstance with notebooks, slides, photos/negatives gone, and hardcopy lost before would-be digital transferring, so my product tends to stand on its own, minus its full-fledged pedigree. In time a nice fanatic with gumption will likely compile things. My job though remains aesthetic advancement, mirroring life or presenting one that can never exist, then periodically hearing what buyers have to say about previous purchases, specifying what the imagery says to them and where they have put my work in their houses. For some reason, that turns me on. Along with painting, there is some small-scale clay sculpture in my portfolio, a series of figurines primarily being representative of this outpouring; and spontaneous photography is a favorite of mine, because one never knows when the art piece will suddenly demand a snapshot. Musical renditions that I produce on keyboard and alto saxophone happen either by spiritual accentuation or as a continuation of something improvised -amplifying unplanned occurrences of melodic ideas. As opposed to a ‘musician,’ I regard myself as an experimental agent of musical flavorings.'