Paintings
Acrylic on unbleached linen/ 44” x 62”/ 2005
Acrylic on canvas/ 52” x 52”/ 1996
Acrylic on unbleached linen/ 18” x 24”/ 1996
Acrylic on unbleached linen/ 36” x 30”/ 1996
Acrylic on canvas/ 24” x 30”/ 1994
Acrylic on canvas/ 21” x 31”/ 1994
Acrylic on unbleached muslin/ 18” x 24”/ 1994
Acrylic on canvas/ 30” x 24”/ 1996
Acrylic on canvas/ 21.5” x 23.5”/ 1994
Acrylic on canvas/ 39.5” x 46”/ 1994
Acrylic and mixed media on paper/ 12” x 15.5”/ 1992
Mixed media on wood/ 25” x 15”/ 1997
Acrylic on canvas/ 48” x 60”/1995
Acrylic on watercolor paper/ 23” X 18”/ 1993
Acrylic on canvas/ 46” x 39.5”/ 1991
Acrylic on canvas/ 21” x 27”/ 1995
Acrylic on canvas/ 20” x 24”/ 1995
India ink on paper/ 22.5” x 28.5”/ 1983
Acrylic on canvas/48”X 60”/ 1993
Acrylic on canvas/ 39.5” x 46”/ 1997
Acrylic on three 6” x 6” Masonite panels, mounted on unbleached muslin stretched over wood/ 26” x 10”/1988
Acrylic on canvas/ 22” x 18.5”/ 1995
Acrylic and crayon/ 30” x 22”/1982
Acrylic on canvas/ 32” x 44”/ 1994
Acrylic, India Ink wash, and pencil on paper/ 17.5” x 23”/1994 (Revisited on Jan. 2015, with graphite and colored pencil)
Acrylic on paper/ 19” x 24”/ 1998
Acrylic on watercolor paper/ 18” x 23”/1996
Acrylic on wood/ 15” x 34”/ 1995 (to view similar images please visit the “Illumined Words” Page).
Pencil and felt tipped marker/8.5" x 11"/2014
Beet juice, ink, and colored pencil on paper/ 8.5” x 11”/ 2011
India Ink wash on paper/ 17.5” x 23”/ 1993
India Ink wash on paper/ 23” x 17.5”/ 1995
India ink wash and crayon on paper/ 22” x 17”/ 1983
India Ink wash on paper/ 21” x 5”/1983
India Ink wash on paper/ 23” x 17.5”/ 1994
India Ink wash on paper /17.5” x 23”/1993
India Ink wash on paper/ 23” x 17.5” x 23”/ 1993
India Ink wash on paper/ 23” x 17.5”/ 1994
India Ink wash on paper /17.5” x 23”/1993
India Ink wash on paper /17.5” x 23”/1993
India Ink wash on paper /17.5” x 23”/ 1994
India Ink and acrylic wash on paper/ 17.5” x 23”/1996
India Ink wash drawing on paper/ 17.5” x 23”/ 1993
Sepia and Black India Ink(s) wash on paper/ 17.5” x 23”/ 1994
Acrylic, India Ink wash, and pencil on paper/ 17.5” x 23”/1994 (3rd revisit/edit, Jan. 2015, colored pencil)
Pen and Ink/ Approx. 8” x 11”/ 1973
Pen and ink/ 4” x 6”/ 1978
Pen and ink/ 4” x 6”/ 1980
Pen and ink/ 9” x 12”/ 1973
Pen and ink/ 11.5” x 8.5”/ 1973
Pen and Ink/ 11.5” x 8.5”/ 1973
Pen and ink/ 18.5” x 24.5”/ 1972
Pen and ink/ 6” x 4”/ 1978
Pen and ink/ 4” x 6”/ 1978
Pen and ink/ 4” x 6”/ 1978
Pen and ink/ 6” x 4”/ 1978
Pen and ink/ 6” x 4”/ 1980
“Coney Island Bound”/ pen and ink/ 4” x 6”/ 1978
Acrylic on canvas/ 37.5” x 39.5”/1989
Acrylic on canvas/ 37.5” x 39.5”/ 1989
Acrylic on canvas/ 24” x 24”/ 1986
Acrylic on canvas/ 24” x 24”/ 1986
Acrylic on canvas/ 30” x 20”/ 1987
Acrylic on masonite/ 12” x 12”/ 1989
Acrylic on canvas/ 42” x 26”/ 1988
Acrylic on canvas/ 35.5” x 28”/ 1987 (Private Collection)
Acrylic on canvas/ 44” x 59”/ 1988
(Private Collection)
Acrylic on canvas/ 27” x 33”/ 1988
Acrylic on canvas / 60” x 48”/ 1986
Acrylic on canvas / 20” x 26.5”/ 1989/ Private Collection
Acrylic on canvas/ 46” x 39.5”/ 1991
Acrylic and mixed media on paper/ 12” x 15.5”/ 1992
Acrylic on mounted wooden panel/37" diameter/ 2009
Acrylic on wood (mounted on wood)/ 37.5 x 30”/ 2001
Acrylic and collage on wood/ 23.5 x 16”/ 2003
Acrylic on canvas/ 72” x 46”/ 2005
Acrylic on wood/ 9” x 37.5”/ 2003
Acrylic painting on wood depicting the energies (prana) known as the Ida and Pingala nadis, as they make their ascent up the sushumna, piercing the chakras. The sushumna nadi, the main channel sometimes referred to as the “silver cord”, is symbolized here by the actual length and width of this painting.
The seven major intersections of the archetypes of consciousness are known as the chakras. Kundalini awakening occurs as the kundalini shakti flows through the chakras, systematically piercing, and thereby stimulating, these subtle energy centers.
Briefly, the seven major chakras as depicted here are:
1. Muladhara: base of the spine (red)
2.Svadhistana: genital/sacral plexus area (orange)
3. Manipura: solar plexus/ navel region (yellow)
4. Anahata: heart center (green)
5. Vishudha: throat center (blue)
6. Ajna: third eye, eyebrow center (indigo)
7. Sahasrara: crown of the head (violet)
Mother Kundalini , the dynamic Supreme Shakti , is the one unified, infinite energy that animates every form in the universe. She ceaselessly calls out to Her partner, Shiva, to guide Her home to the pure, formless state of the changeless Absolute within: the Self. The Cosmic Hermaphrodite, Ardhanarishwara, emerges as the one deity, as Kundalini Shakti unites with Her Shiva in the Sahasrara chakra- the union of matter and spirit.
Collage mounted on wood with acrylic/ 17” x 14”/ 2000
Acrylic and collage on wood/ 24.5 x 17”/ 2003
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
8.5" x 11" Series
Acrylic on wood/ 15” x 34”/ 1995
Albrecht Durer, the great 16th century German painter and engraver, has been a major influence in my artistic development since my early teenage years. It was Durer’s extraordinary sense of formal, well ordered composition, contrasted with an often harsh, organically raw temperament, that influenced not only my painting, but a linear sensibility that began with early pen and ink drawings, continuing to the “illumined word” drawings of present.
The very simple, well ordered beauty of one of Durer’s musings, which actually appears to be more of a loose watercolor journal-sketch than a painting, was the inspiration for this piece and several others which followed. Referenced as “Flood (Vision Dream)”, this image (1525 A.D.) is evenly divided horizontally, with image above and hand script below. Durer’s nebulous, almost strangely apocalyptic watercolor sketch exquisitely demonstrates an exceptionally harmonious balance of words and imagery. So, being curious, I tried a composition in like manner, with a similar patina of colors. This happened to be the first of several similar pieces painted on wood.
For the first piece of this series, I chose one of my favorite verses from A Course in Miracles (Chapter 19, “The Obstacles to Peace”). The inscription reads:
“Love's messengers are gently sent, and return with messages of love and gentleness. The messengers of fear are harshly ordered to seek out guilt, and cherish every scrap of evil and sin that they can find, losing none of them on pain of death, and laying them respectfully before their lord and master. Perception cannot obey two masters, each asking for messages of different things, in different languages. What fear would feed upon, love overlooks. What fear demands, love cannot even see. The fierce attraction that guilt holds for fear, is wholly absent from love's gentle perception. What love would look upon is meaningless to fear, and quite invisible.”
Acrylic on wood fiber board/ 12” x 34.5”/ 1997
Acrylic on wood (mounted on wood)/ 16” x 46”/ 1996
Acrylic on mounted wooden panel/37" diameter/ 2009
Acrylic on wood (mounted on wood)/ 37.5 x 30”/ 2001
Whitesboro, NY/ April 18th, 2018
Sunset Park, Brooklyn, NY/ 2015
Whitesboro, NY/ April 2018
Sunset Park, Brooklyn, NY/ August 2015
