The primary aim of my art is to convey feelings, moods, and atmospheres through the proper juxtaposition of color, form, and line, as well as a limited vocabulary of recognizable imagry. I have always had a strong sensitiveness to the weird and fantastic, resulting in imagry that often takes the form of monsters and otherworldly creatures. Having felt like a bit of an outsider most of my life, these creatures tend to be one-of-a-kind "freaks" who know nothing of normalcy, of fitting in.

Typically, my process begins in the sketchbook with ballpoint pen drawings. Using the "automatic writing" technique of the Surrealists, I start out by covering the page with scribbles. I then look closely at this seemingly random mass of lines until, invariably, images and patterns that speak to me emerge. I develop and hone these images into a cohesive picture, adding new shapes and lines as needed. When I feel satisfied with it, I transfer the drawing onto my painting surface. I employ a number of both direct and indirect painting techinques, and often experiment to achieve the desired effect.

As to influences, they are many and varied. They come principally from 20th century movements, especially those of Surrealism and Abstract Expressionism. Specific artists whose work I find particularly inspiring include Arshile Gorky, Wilfredo Lam, Jackson Pollock, Pablo Picasso, Wassily Kandinsky, Max Beckman, Ljuba Popovic, Adolph Gottlieb, Henry Moore, Max Ernst, and Joan Miro. Additionally, I have a keen appreciation for tribal art, especially that of Africa and Oceana. For literary influences, pride of place goes to the work of H.P. Lovecraft. In his stories, I have found a unique and endlessly fascinating voice that strikes a cord with my own particular sensibilities. Also, from a very early age, I have been drawn to Classical mythology, and references to it find their way into my work from time to time. Musically, I derive inspiration from such diverse sounds as those of John Coltrane, Metallica, and Dead Can Dance.