For me and my journey, it is very important to know and understand the who, what, when, why, and how these Modern Art Masters created. My personal, intimate experience of mixing colors, stretching canvases, framing prints, holding brushes, or charcoal, or graphite, or scissors is built upon my passion for the Modern Masters and my teacher/mentors. The foundation they laid for me is at the core of my language/ style/ approach to making art. Like Motherwell stated, I work in series because a good thought usually cannot be communicated in just one picture. Artists need a language. Artists build our own language- one mark, one painting at a time.
Contemporary. Direct and reactive, spontaneous- yet- intentional. Overlapping and over-painting. Heavy-handed and manly describes my artistic personality. My style and application of my mediums (acrylics, oils, inks, graphite, collage, charcoal, watercolor) is more like a framing carpenter than a master furniture maker. I always build in layers of medium. Under-painting, mark-making, paint, sometimes collage, sometimes mono printing. More paint, more marks and so on.
對於我和我的旅程來說，了解和理解這些現代藝術大師的創作者、內容、時間、原因以及方式非常重要。我對混合顏色、拉伸畫布、裝框印刷品、拿著畫筆、木炭、石墨或剪刀的個人親密體驗是建立在我對現代大師和我的老師/導師的熱情之上的。他們為我奠定的基礎是我創作藝術的語言/風格/方法的核心。正如馬瑟韋爾所說，我以系列作品的形式進行創作，因為好的想法通常無法僅透過一張照片來傳達。藝術家需要一種語言。藝術家建立我們自己的語言——一個標記，一次一幅畫。
當代的。直接的和反應性的，自發的但有意的。重疊和過度繪畫。粗暴而有男子氣概描述了我的藝術個性。我的風格和媒介（壓克力、油畫、墨水、石墨、拼貼、木炭、水彩）的應用更像是框架木匠，而不是家具製造大師。我總是用介質層來建造。底漆、標記、油漆，有時是拼貼，有時是單色印刷。更多的油漆，更多的痕跡等等。
