to call these paintings is a stretch, at best. they're made with everything i can get my hands on: linseed oils and gum arabic, india ink and graphite, photographs and photoshop, 3dsMax and Maya, coffee and booze, blood and sweat, and lots and lots of love.

painting is my main tool for digging around in the worlds of sex, death, and mythology. since that's a visual tool most of the work is about showing how the spirit changes the appearance of the body, or what the spirit would look like if it were the body, or how the body might be stripped back to show the spirit. these are dissections and celebrations of the way the body is formed by the will.

art is not about self-expression, but an articulation of some truth. mine looks like what you see here, at least as much as i can show it. people generally call it 'dark' but it's not intended to be that way, but simply how i see people and their circumstances.

but the techniques are constantly getting better and i try to find new ways to use them.

trained as a painter in classic tradition i'm picky about what i work with. for example all oil colors use exclusively pre-industrial pigments such as raw sienna or burnt umber and i rarely, if ever, touch something like phthalocyanine.

most images start on one side of the monitor, cross it, then move back. if it's a watercolor, for example, i might scan it, change it in photoshop, print it, and do more watercolors. if it's a photo i might print it, paint on it, scan it back in, and save it as a jpg. somehow they end up looking similar, regardless of the path.