I studied painting under the minimalist John Randolph at Phillips University and later set up shop in an old shoe factory on the South Shore of Massachusetts, showing from time to time with the Artists Circle of the Fuller Museum of Art (now the Fuller Museum of Craft) and stealing ideas from people like Scott Ketcham, Cindy Kaplan, Craig Bloodgood, Rosario Diaz…it’s impossible to list everybody and probably unfair to list only a few, but there it is. Later, I studied the fine art of teaching art under John Crow, Maureen Kelly, and their cohorts at the Massachusetts College of Art (and, nowadays, Design) in Boston. I never taught much, but reading, thinking, and writing about the processes involved in the acquisition of skill sets necessary to continue doing in more sophisticated ways what we all do quite naturally up until the second decade of life or thereabouts, shaped the way I think about art and art-making.
My approach is rigorously slap-dash. I draw, I paint, I scan, I photograph, I steal, I Photoshop. Sometimes I do it a different way around. I don’t know what I’m looking for, but the process resembles more than anything else a kind of searching. The stuff I learned at the age of twelve or thirteen from the Famous Artists Correspondence School influences what I think is cool, what works and what doesn’t, and when I’m going to hit “Save as…” and call something done.