I was trained in art history at the University of
Toronto and then worked as a curator at the Vancouver
Art Galley in British Columbia. Deciding to further
my career by continuing my education, I went to New
York to study at the N.Y.U Institute of Fine Arts.
At the time, New York to me was Manhattan, but then
I discovered Brooklyn, where I have lived ever since.
Coincident with my move, was the realization of a
long held desire: to shift from studying about painting
to painting myself. I enrolled at the New York Studio
School and eventually took an MFA at Brooklyn College.
The first exhibition of my paintings was held in
1978 at The Work of Art, a gallery on Atlantic
Avenue in Brooklyn. Soon after, I became a founding
member of Blue Mountain Gallery in Manhattan.
However, even though now exhibiting in Manhattan,
Brooklyn continued to be what I painted
- particularly industrial Brooklyn around the Gowanus
Canal and the seedy but evocative stretches of Flatbush
Avenue near the approaches to the Manhattan Bridge.
Later, I began to explore Brooklyn's Prospect Park,
having acquired amongst other things, a large dog
which needed daily exercise.The park was a vast and
rich landscape waiting at my fingertips. I initiated
a series of paintings, the first of which were exhibited
in 1998 at the BCUE gallery in the Tennis House in
Prospect Park, and to which I continued to add over
My interest in landscape was expanded
by the purchase in 1977 of 25 acres and a summer house
in the Catskills, where I now spend half of each year.
I immediately began to shape the land around me. I
terraced the steep slopes of the property with flagstones
taken from collapsed 19th century stone walls and
built flowerbeds and a vegetable garden. These, along
with the surrounding mountains, streams, valleys,
and farms, as well as rural and small-town buildings
became further subjects for my work. My Catskill paintings
have been exhibited both in Blue Mountain Gallery
and in the co-operative Longyear Gallery, in
Margaretville, NY, of which I was a founding member.
My paintings focus on light. It is the
mystery of form revealed by light and shadow that
draws me to a particular subject. I lock the forms
together in stasis, but the effect is illusory. Although
objects are caught in time and space, the stasis vibrates
with life. Thus, each painting encloses a paradox.
Analyze it too closely and it dissipates. Allow the
encounter to be suffused with the oblique penetration
of reverie and the paradox expands to envelop and
reinvent the viewer.
During the summer, I principally work
plein air, painting directly from what I observe.
In the winter, I work in my studio from my sketches