Wood sculpture has deep roots in my life. From the very beginning my focus has been the human form, though on occasion my painting has moved into landscape, still life, and even abstract motifs. Even these reflect aspects of the body and its contours. I feel very strongly that the similarities between natural forms correspond directly to the universalities of life.

My life revolves around art; the art I create is grounded in drawing, something I've done every day for over 25 years, religiously.

As Giacometti once said, "Drawing [to me] is a form of religion." Much of my work concerns the female form; almost all of it comments on the human form: an immense terrain, splendid in infinite ways.

I have worked in series now for over 20 years, returning now and then to various series, often with gaps of several years. As a result of long hours in my studio, I have crafted a mountain of work. Most of my current work has been painted with water-based media-many in combination. Currently I am drawing in inks, with reed pens and working into the still-wet inks with watercolor, gouache and acrylics. I make my own reed pens from "pampas grass," which is far more pliant and supple than bamboo.

I often have several paintings in progress at the same time, a practice that sometimes yields surprising cross-pollinations. I paint with abandon, but wish control at the same time; I am enamored of "the accident," though the trick is to recognize this when it happens.

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