I am a proponent of Pan-Global, Industrial, Supra-Expressionism
which attempts to utilize materials from global industrial culture
within works created as art. The juxtaposition of the bold
expressionistic strokes on the stark, bland industrial materials causes
a good deal of tension. The bright colors used in the textures further
differentiate the energy of the expressionistic strokes from the dullness
of the main industrial materials. I say Pan-Globalin this case means that all
cultures have been absorbed into the Industrialscape,
It is an artist's job to rediscover theculture, and re-declare it boldly.
It is "Supra" because an attempt is made to make the expressionistic content super real,
by accentuating it's physical characteristics, texture and enhancing its 3D quality.

Reverence for the fine, finished patinas that might normally apply to art, can
be dispensed with for the boldness of an energy more sympathetic with rock and roll
(e.g., jimi hendrix), r & b and/or jazz music (e.g., Coltrane), as well as the influence
of Street art, and instead, a reverence for art of young children worldwide,
early Cultures, etc. The high-power/energy of certain jazz musical expressions (e.g., Coltrane)
had a dramatic impact. Use of industrial materials in new combines
(as influenced by Rauschenberg, et al.) further stressed new ideas of how materials might be combined. I also try to avoid creating a work that has that "finished",
"production" look, of which I am not fond.
Instead, I developed a new primitive kind of "cobbling" skills to hold these materials
together, and subtracted worrying about loose hanging edges, polish etc.

The effects of Surrealism on my work helped break things up into new arrangements,
pieces, relationships, even melding forms together. Its super-focus and startling
sharpness helped provide a basis for the glistening effects I like to add to some
works, as if glowing within an industrial subway, or a modern cave. To enhance this
I add super glossy finishes, glitter and shiny materials causing contrast. The rearrangement
of shape and form helped me to melt normal shapes into new forms, which could better
be used to express their industrial energy.

I do not feel that use of the basic materials of painting/art has been exhausted, or
that art now must explore new materials/media to be able to make a valid statement.
New media alone is not enough, it is instead the message itself which is important.

Finally, since, to me, the spiritual is directly self-evident, it is
also present in my work. The political and socio-political world are
foreign to my art. I do not believe that all forms of expressionistic
endeavors are now meaningless, or have been “done.before” Instead I hope to use
this form to accentuate what is relevant, and heighten its impact.