I attended Columbia college in 80-82 for Artistic development and Photography. My work as a serious artist began more seriously during my study of the artists Stuart Davis,  Jean Basquiat, DeKooning and the Constructivists. I began doing this in 1992 through 96. It was important for me to discover what was significant with their work, and then translate what I was learning and seeing while applying the forms and  expressions into an urban context from the eyes of a person of color. I came from a background of political protestors and strong working class family members, and very creative and inventive Uncles who were active photographers, artists, writers, and poets in the 60s and 70s.

I  travelled to Europe in 84( Lucca and Florence Italy, Paris, London England ) after 2 years of college for a short while to expand my creative development, gaining valuable insights from artists Maria Stuarda Varetti and the regional surrealists like Luigi Giampolo in 1983. It was important for me to develop what I later called a ‘ transitional’ style, to my  first canvas work. Color, texture and the  present mood at the time positioned themselves to gain the best affect.

In the late nineties, I ventured into colorful, modern, ancestral-like totem sculpture forms that are like towers of Story telling/marque signs of the big city with ancient contextual reference . These are resin-coated to emphasize the color, and its supposed to emulate the ‘garishness’ and largess’ of night light signs, ads and billboards that is the convoluted environment of society and city, while negotiating values and traditions of past.

In 2000, I began more diligently doing quick periods of paintings on paper, from what I called, the “Joy of Being” series, to the works of “Anatomika”, acrylic, oil pastel and graphite works, all dealing with the expressive emotional and mental states we feel in common with everyday habits, actions, duties, and repetitions.  I made color dance about with line forms in loosely connected explosions of color dabs, with intermittent graphite structures until the flatness of the subject became dimensional. I would say best, much of my paper paintings are best described as sketch paintings, because the work involves freely applied pencil frameworks and filaments with the paint, interwoven, that help develop areas of the piece. These works were well received and many sold over the following 8 years. The work has been represented well at The South Shore Cultural center, Guichard Gallery, Yellow Gallery north side (1997) and  Robert Johnson gallery in 2003. Since those times, I arranged group studio exhibits.

I am returning to canvas work without a frame, a resin coated, stiffened canvas with frayed edges thatlooks like firm, fabric leatherized‘ tablets with abstract themes running over them. I will be accomplishing larger work in this method.  The idea with both paintings and sculpture is to narrate the time for the sake of inquisitors of the future.