My earliest years as a painter in New York, the early 1950's through the early 1960's, were involved with abstract expressionism. During these years I exhibited widely throughout the city and Tri-State area. 
One of my most important influences was knowing and being taught by Franz Kline. Although my painting in no way resembled his work, I learned to love paint itself and the kinetic movement created in working boldly. Each brush stroke has its own life and movement. The figuative and more symbolic style came from another teacher, Benton Spruance. He made me aware of the power of the human figure used in an archtypal manner. I enjoyed the use of drawing as a skill and have always incorporated drawing into my work. Combining my love of the kinetic as well as my pressing need to never lose the element of drawing in my images, a style evolved that combined the abstract impact of paint, itself with the use of recognizable elements of the human figure.
During the New York years I lived on 8th St. in Greenwich Village approximately four doors East of the Cedar Bar. I met and conversed with many of the "Giants" of the abstract expressionist period. I was a keen observer, being approximately 15 - 20 years younger I quietly listened to the enthusiasm, the creative and combative attitudes that emerged into the significant impact they had upon the art world. Another member of this group was the painter, Melville Price, who gave me the encouragement to follow my instincts. Through the ensuing years, my work passed through the abstract and symbolic as well as through the metaphysical stages utilizing the human figure in a series called "Parallel Worlds" and abstract work on both paper, board, and canvas. The mediums also varied at each period from oils, to acrylics, to watercolors, to combinations of materials and methods - never straying from my love of pure paint, itself, the kinetic, the metaphysical and the symbolically figuarative.
My most currect images are a series of mixed media of watercolor, graphite and crayon entitled 'As Seen Through the Corner of the Eye', done as smaller works that reflect towards the edge of abstraction - allowing each viewer to draw upon their own experience to "find" the possibility of a mysterious reality in the images, or to experience the pleasure of kinetic movement, paint/color, itself, or to follow my obvious dependency upon drawing. It is my goal during this phase of my art to share my present state of visual discovery with the works' viewers. Over the years, I have had my studios in Philadelphia, New York, Summit, NJ, Oldwick, NJ,and for the past 19 years in Jim Thorpe, PA., located in the Poconos, where a broad sampling of my work is always available in Hazard House Gallery. Although my work is regularly exhibited both regionally and beyond, a representative survey of my 55 plus years as a painter can be viewed here.