I entered the University of Wisconsin as a declared art major but when offered an opportunity to play music, I left the university and my art studies. That was 1969.
In 2001 I returned to painting. Without any instruction or real direction, I just kept painting. Slowly I started to understand the materials and the means to make a painting that I found interesting. In 2015 I was introduced to Marcia Wood and was eventually accepted as one of her gallery artists. I am also represented in Nashville by the Rymer Gallery.

I completed my first ever residency at Hambidge this year (2018), made a new body of work and had a solo show in Atlanta. In 2017 I had solo shows in Atlanta and Nashville. My work has been selected for inclusion in juried exhibitions by jurors including, Jerry Cullum, Timothy Flowers, Marianne Lambert, Karen Comer Lowe, Nandini Makrandi, Michael Rooks, Annette Cone-Skelton, and Anne lambert Tracht. Several honorable mentions, awards and purchase awards.My 2017solo show was reviewed by ArtsAtlanta writer and artist Donna Mintz.

I have work included in several permanent collections including the Four Seasons Hotel, Atlanta, GA; William Blair & Co, LLC, Chicago, IL; the City of Decatur, GA; Shaw Industries, Dalton, GA; Levens, Strand & Glover LLC, Chicago, Il; and Tribridge Residential, Atlanta, Ga and the new State Farm Arena, Atlanta, GA..

I purposely limit my compositional tools to simple forms, straight lines and color. Compositions are edge to edge within a modified grid. Each element is painted individually. The accumulation of elements with varying color and intensities activates the space. I start with a simple drawing, a schematic that establishes the placement of the large forms within the composition. I then establish a color key for the painting. The color key provides a framework from which I will depart and return throughout the work.

My current work investigates interactions between pattern and color, edges and intersections, planning and happenstance, intellect and intuition. I am trying to make a painting that is bigger on the inside than on the outside. It is important to me that the work withstands extended examination and continues to surprise the viewer over time.