My drawings and paintings have employed a detailed technique for two decades and have often been integrated into installations. Conflicts arising from history, religion, sexuality, race, and prejudice are issues I’ve continued to address. Growing up a gay Catholic in a racially mixed, Eastside Detroit neighborhood, my schoolbooks negated homosexuality, my church prayed to heal me, acting on sexual impulse condemned me, and prejudice was directed toward me. I was often bullied—a universal problem existing to this day. I’ve come away a stronger person who can speak about these experiences in my drawings, paintings, and installation work.
Many people have also coped with the deaths of parents and friends who’ve helped through difficult years. I’ve only begun to examine this sad reality. I’m now striving to capture some of the ways in which we, as individuals, respond to life’s uncertainty and death’s inevitability. This has led to a deeper interest in spirituality, mysticism, and parapsychology.
My installations structurally and thematically relate to the images they present in intriguing ways—e.g., the classical Spanish “Arcada,” housing works comparing strife during the Spanish Inquisition to conflicts between the United States and Middle East today; or the triangular “A Window Unto Three Realms,” enclosing interpretations of three time frames. I find that spaces between viewers and installations are charged with a palpable tension that’s more arresting than spaces between viewers and wall mounted artwork. These projects add an architectural and sculptural dimension to my imagery, engaging the public in a more interactive and theatrical manner.