ALCHEMICAL TRANSMUTATION

My paintings are the result of long study and disciplined practice. I work with acrylic-urethane formulations made by hand in the studio—materials that are specific, irreproducible, and responsive to changing light due to inclusions such as ground copper and reflective particles. Surfaces are layered, suspended, sometimes grounded. They affect both physicality and vision—experiential rather than symbolic. These are thresholds: between visible and invisible, material and immaterial, surface and depth.

Alchemy, in my practice, is operational, not metaphorical. Transformations wrought from the five elements—fire; water; earth; air; and the physics of gravity and time—are both literal studio processes and philosophical anchors. I've learned to work with loss, distortion, and impermanence—not against them.

I am an intuitive. Analysis interests me—after the fact. I begin by looking within, not by theorizing. Forms emerge through an ongoing practice of attention refined over decades. When analyses are applied—armatures, grids, golden sections—they often align at compositional inflection points with uncanny precision. This isn't calculation. It's intuition, trained over fifty years. The geometry is embedded, not imposed.

My earliest figurative work already reflected what Bouleau called “diagonal dynamism.” That relationship to sacred geometry has only deepened as my work evolved from expressionist figuration into abstraction. Recent compositions are more atmospheric, more meditative—yet they retain the emotional charge and psychic tension of earlier work.

These paintings require physical engagement. The work rewards viewers who move—who shift perspective, who see with the body. It resists flattening—both as a surface and as an experience. That resistance pushes back against the speed, compression, and disembodiment that define much of contemporary life.

I'm not looking for the right concept. I'm listening for the right resonance.