As an artist, I have long been compelled to explore and experience the process of making art, which I find therapeutic and calming. However, of increasingly primary importance to me, is that I use that visual language to record my unique views or experiences of certain subjects in a way that helps stimulate conversation about those topics.  

The primary medium I use is acrylic on canvas on large scale dimension works. The scale of my work is a fundamental component, as scale plays a large role in the amplification of the impact of the work, especially when the work is figurative in subject matter. For both the equine and figurative works, I frequently employ a small team of a photographer, a model, and assistants, to aid me as I produce the reference image of my concept. I consider every element from props to lighting. Priority is given to the expression and gesture of the subject, as they are critical to the success of the work. I use color and value to underscore my statement about mood and experience.

My work has become the modem I use to share my views, inspire conversation, or promote change. My series of paintings about nuclear accidents is inspired by insight I gained after living in close proximity to a nuclear warhead manufacturing plant (Rocky Flats Plant) for several years in the early 2000’s. I am passionate about subjects that raise awareness not only about environmental exposures, but also the rights of individuals such as victims of abuse, or discrimination. Additionally, my political portraiture seeks to probe into certain types of personalities, particularly those that are prone to abuse power, because they are often related to threats to democracy, and are therefore important in my body of work. I have been influenced by the expressionist works of Willem de Kooning, the socio- political works of Ben Shahn, the large scale equine sculptures of Debra Butterfield, as well as my own great-great uncles’ Gutzon and Solon Borglum’s sculptural works.