The dual headed self finds some sort of awkward balance.

Art history class meant endless slides, thrown huge upon a screen. To see all that beauty, modern and ancient, as nothing but colored light, was fantastic It created an equality of so much variance. It unraveled the strangle hold of rational space within my mind. Those classes spread it all out as psychic energy first. People must question their resistance to certain styles, as these are simply the languages used to transmit this psychic energy.

I had been converted to twentieth century art reluctantly. Years before, In Munich, I lucked into a Joseph Beuys retrospective. The text was in German so I had to intuit the whole thing. This was a gift of chance. Seeing the tender sketches, and forest debris combined with such obvious sentiment, I was completely won over. The magic was palpable. I subsequently learned of his life and teaching ethic I felt it had all been there in that show and it was a pleasure to learn from his work directly.

I’ve always loved the idea of painting very realistically but it doesn’t describe the qualities of my consciousness, which I find more interesting.

I am intrigued by the transit between illustration and abstraction that continues to flourish, into this century, and expressionist trends that yank at post modern reserve are refreshing. I am extremely fond of cartoons and so love recent advances in 3-D animation. The most figurative work I’m doing lately is a series of small sculptures that imply themselves as characters from some imaginary episode of political toyland.