The Giclée prints available on this site are produced on high quality archival paper with superior long-life inks. All framing is accomplished by a professional framer utilizing acid free mats and top quality frames. Each frame/mat color combination is selected by the artist in concert with the framer to complement the colors and feel of the artwork. The artist signature and edition number is located on the bottom edge of each print, but for the sake of continuity and to maintain the feel of the original, this signature is not visible on our framed prints. To compensate for this, each mat is signed and numbered by the artist as well. A numbered certificate of authenticity accompanies each print.

The Limited Edition giclee process begins with an original piece of artwork, such as a painting or pencil drawing. The artwork is captured digitally and converted into a high-resolution digital file. When the file has been optimized for color and accuracy to the satisfaction of the publisher, printer and artist, it is output using a state-of-the-art printer in which super-fine nozzles spray microscopic droplets of ink with extreme precision onto a surface. It takes an hour or more to print just one high caliber fine art giclee.

Our giclee editions are created on archival fine art paper. The paper stocks are selected not only for their exemplary archival qualities, but for their receptivity to the printer inks, the purity and brightness of the surface, and the fine art texture that appeals to the eyes and hands.

Each piece of art is individually approved and signed by the artist.

ARTIST STATEMENT

Creation turns me on. From a blank surface to the finished work of art, it's the process that feeds my soul.

To me, art is a lifestyle, a compulsion and a passion. With a formal education in the arts spanning over eight years and an apprenticeship lasting two, I found myself addicted to the learning process. Now after more than forty years of practice, I still consider myself a perpetual student of art. In my opinion, to stop learning would be tantamount to artistic stagnancy. . . so, the exploration continues.

For a long time, I studied widely varying methods of visual interpretation and composition, ultimately concluding that the skill of seeing is a crucial part of an artist's education, requiring in-depth study. I believe a strong development of an artist's visual perceptions is a prerequisite to mastering most visual arts.

As an avid outdoorsman, I spend a great deal of time exploring different ways to see the details of Mother Nature. With a camera always at the ready, even in my kayak, I hunt for wildlife or powerful landscapes or tiny details. The camera is an essential tool in my artist's bag.

I have explored most every media, though as of late, the majority of my finished pieces are done in colored pencil, a media lending itself nicely to high detailed realism art. Though I prefer to work in Realism, I have done many Abstract, Fantasy, Surrealism, Expressionism and Impressionism works too. I studied for many years in sculpture such as wood, stone, steel, concrete and even industrial plastics. In the 1970s and 80s, I was better known for my light sculptures; some computer driven while others dealt with natural light and form. To this day, I still put my hand to the three dimensions on occasion. It's all a learning process to me, one that will continue until I am unable.

Usually I set a goal for any particular project. For example; to do a pencil drawing of a foggy scene with a dingy in the foreground, showing subtle hints of a sunrise, all done in 45 degree right angle stroked colored pencil lines or crosshatched layers of color. For accuracy, I prefer to use a grid and proportional divider, often having the subject displayed on a computer screen with an overlay proportional grid as a guide. On the following project I may try to combine light and shadow to create a moody image in pastel oils with a looser style utilizing interpretations rather than details.

Each artwork possesses its own distinctive characteristics, generally driven by personal mood. Once complete, I am always faced with the inevitable question, "What's next?"

EDUCATION

Jacksonville University - Fine Art and Design

Fort Lauderdale Art institute - Commercial Art and Design

Atlanta College of Art -   Fine Arts (Painting & Sculpture)