I paint within the conventions of non-objective art using circles, squares, rectangles and trapezoids to improvise in the spirit of the many different kinds of music and dance that I enjoy. Using these forms, colors and lines, I aim to stimulate sensations of movement, rhythm and harmony. I like to make color and shape interact in the same way that sounds and rhythms interact in a musical composition. Fast, slow, bouyant, lyrical or discordant - it's an intuitive pursuit.

As Hilda Rebay, the accomplished and influential painter, wrote, "Non-objectivity is intuition made audible and visual." I try to put into my paintings the spirit that moves me, from pieces like a merengue, the waltz from Der Rosenkavalier, anything by Charlie Parker, J.S. Bach, or Francis Poulenc. Geometric shapes give me the means to do this because they are like musical notes - without reference to anything other than what they are.

I work on sheets of canvas and paper spread on the floor - splashing, pouring, scraping, burying, and drawing without any plan in the beginning. An image begins to reveal itself and I paint it - moving back and forth from the floor to the table.

The collages are inspired by the accidental drips and splashes on my drop cloths and paint rags. The bits of graphics make a counterpoint to the torn cloth.

The artists I like to look at are Malevich, Kandinsky, Mondrian and the non-objective painters. Chinese calligraphy appeals to me too.
 
I studied with Josef Albers at Yale, where I was awarded the Bruce Rogers Scholarship in graphics, and later with Richard Pousette-Dart, Leo Manzo and Bruce Dorfman at the Art Student's League. I worked with I.M. Pei and Partners, Architects and currently in my own design firm.

New York State Council on the Arts, Curator and Exhibition Designer

Bruce Rogers Award, Yale University, New Haven, Connecticut

My paintings are in public and private collections in Tokyo, Stockholm, Montreal and around the U,S. They can be seen at the Four Seasons Restaurant in New York City.