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Early Works

1966-1971

Early Works, Untitled (Car Painting #1)

Untitled (Car Painting #1), 1966

Acrylic on canvas, 50.2" x 38"

Early Works, Untitled (Car Painting #2)

Untitled (Car Painting #2), 1966

Acrylic on canvas, 50.2" x 38"

Early Works, Wall #1 for Imaginary Landscape

Wall #1 for Imaginary Landscape, 1969

Photograph, contact wallpaper, mirror, acrylic on canvas, 11' x 7'

Early Works, Wall #1 for Imaginary Landscape

Wall #1 for Imaginary Landscape, 1969

Photograph, contact wallpaper, mirror, acrylic on canvas, 11' x 7'

Early Works, Ghost Incubator

Ghost Incubator, 1970

Balsa wood and nylon stocking, 5" x 3.5" x 7.5"
 

Early Works, Ghost Incubator

Ghost Incubator, 1970

Balsa wood and nylon stocking, 5" x 3.5" x 7.5"

Early Works, Blue Room: Self Portrait

Blue Room: Self Portrait, 1971

Collage, photograph, gouache, rhinestone,10.5" x 8.25"

Early Works, Untitled

Untitled, 1971

Collage and gouache on paper, 12" x 9"

Early Works, Red Rock

Red Rock, 1971

Collage and gouache on paper, 12" x 9"

Early Works, False Front with Potted Palm Tree

False Front with Potted Palm Tree, 1971

Pencil, collage and gouache on paper, 11" x 14"

False Fronts and Hotels

False Front, 1972

Acrylic paint and mirror, canvas, wood, 6' x 6' x 10"

Description

I was born in 1942 in my maternal grandparents house in Springfield, Ohio. I cannot remember a time when I did not want to be an artist. As a child I drew and painted all the time and was encouraged by my teachers and parents, especially my mother. My favorite game as a child was a universal one: making a “house” out of almost anything—boxes, blankets, branches—and crawling inside. Especially inspiring was a snapshot of my mother as a child standing at the door of an igloo made by my uncle after an Ohio snowstorm. My mother had wanderlust and my family took month-long, vaguely planned road trips every summer. To me, these were better than Christmas. Frequently, we spent the night in slightly run-down tourist cabins—the only accommodations available after the more modern motels had lit up the NO on the neon VACANCY sign. I hated the cabins, preferring the motels with their swimming pools, but they left me with vivid memories of both intimacy and alienation. One trip to Boston when I was six or seven included a visit to the Old North Church of Paul Revere fame. At the time, the church appeared rundown and forgotten. I was shocked and remember feeling the same sort of sadness for the building that I would feel for a person in a similar situation.

In college, I majored in art and planned a career as a painter. After college, I spent a year in Paris, painting and then moved to New York. There, I began a series of paintings of solitary cars traveling in sort of moonscape setting. In the last car painting I did, the car faces the viewer and appears ready to drive off the canvas. I had begun to realize I wanted my work to have an element of engagement and power I did not know how to achieve in paintings.

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