Education: BFA, University of Utah College of Fine Arts, 1978.
Collections: Utah Museum of Fine Arts, University of Utah College of Humanities, Salt Lake County Collection, Salt Lake City, Utah. My work is also part of numerous prominent and private collections.
When young, I accompanied my mother to every art exhibit she was willing to take me to. While my siblings asked for toys at Christmas, I requested pencils and paints. At an early age, the smell of pencil shavings, turpentine and paint lured me. With the encouragement of my high school art teacher, I enrolled in the Art Department at the University of Utah and soon became aware of the legendary, enigmatic and formidable Alvin Gittins. He had the reputation of being a very tough-mannered and demanding teacher. I was one of the fortunate students to have the opportunity to study with him at the prime of his career and to get to know him well. After studying with him, he became more like a father figure and mentor. His teaching was significant in shaping my career. He emphasized the need to work from the live model, to work objectively, and to concentrate on the essentials of structure, human anatomy, and light and shadow. Gittins provided the tools and foundation to further my exploration of the human form and reach an understanding of the tonal values that give dimension and plasticity to the form. He would always say:
"You need to unlock the – more-so-ness – of the person. Likeness resides in the gestalt, not in the details. Look for the highlight, explain the form. Don't just mindlessly imitate it."
His powerful mantras became part of my working lexicon and they resonate with me today each time I begin a new painting or drawing.
After receiving my Bachelor of Fine Arts, I decided to further refine my skills by selecting teachers who would advance my knowledge and purpose to achieve my goals. I chose to study with Paul Davis. I consider him one of the finest figure draftsmen living. His ability to teach the fundamentals of drawing and the concept of triangulation is remarkable.
My passion to learn to understand color and learn to work in the medium of pastel led me to the studio of Daniel Greene. He is one of the most eminent pastel artists and teachers in the world. His book on pastel technique is legendary among artists and has gone to numerous printings. His work speaks for itself. He taught me the correct use of pastels and color theory in all of its complexity. Daniel Greene's teacher was Robert Brackman who was taught by George Bellows whose teacher was Thomas Eakins. I am grateful to have had the opportunity to study with him and grateful to own a beautiful likeness of me that he painted in oil.
Understanding light, the power of form, and achieving greater likeness takes a lifetime of learning and painting. I have many masters to learn from. Thanks to all who set the standards of excellence and continue to inspire.
Thanks to those who paved the way.