My approach to my artwork is simple: I want it to be interesting, whatever it happens to be. I intend to involve the viewer. The piece, whether it is a painting or a construction, needs to provide the viewer with something more or less than what he or she expects. Sometimes there may be an image embedded in the patterns that form the overall look. Often this image isn’t apparent at first viewing. Other times I may suggest an image that isn’t really there. The viewer must decide for himself or herself if what is being seen is the total of what is there.

In most of my work I actively avoid providing a focal point. Thus the viewer's eyes wander around the piece searching for a familiar resting spot. In most cases they won't find one.

In the process I may use colors that don't seem to be compatible; they may, in fact, clash under ordinary conditions. I try to use them in such a way that they provide energy to the artwork.

I am not above employing optical tricks to create illusions. Using some of the principles of Gestaltism (proximity, assimilation, simultaneous contrast and negative-positive, etc.) enables me to create the image I am looking for.

I do not mix colors. I paint directly from the tube or jar, using strictly commercial colors. Sometimes this restricts what I can do, but I just work around that. I do not try to achieve perfection. A certain amount of "painterly" effect is acceptable. The edges are hand-painted, not masked. My work is obviously produced by a person, rather than a machine. Other artists may mask their edges to insure crispness. That is not important to me.

Sometimes it is possible to see the pencil-marks that are the basic structure of my paintings. That doesn't bother me much. I sometimes paint over the ones that do bother me. My work is designed to be seen from a small distance, rather than closely examined.

Most of my work involves patterns. Sometimes I adopt a familiar theme, then apply my own approach to the use of color. Other times I develop patterns based on an idea or mental image I have. Then the colors are precisely selected to create an image or deception.

My favorite patterns are somewhat out of my control. I create "rules" which are then used randomly to determine the final outcome. The rules range from simple to very complex, depending upon what I am after in a given piece. These images always begin with a grid, usually a square one. Then the rules are applied. These rules determine whether the squares formed by the grid are further divided, whether a shape is located at the grid intersections, and the size of such a shape.

Then I select my palette of colors for the piece and assign each color a number. I then rely upon a random-selection technique to determine the application of color to the piece. Rules govern how colors dominate when they overlap. This coloration determines the final look of the work and is always a surprise to me. I hope from the onset that my "rules" will produce a pleasing and interesting piece, but the exact outcome is always out of my control.

The randomness is ensured through the use of random-selection tables designed specifically for the individual piece and created by a random-number generator on the Internet. Before the Internet I used random-selection tables created for me by friends who had access to large computers, or even by dice or coin tossing.

My preferred medium is acrylics on stretched canvas. A variation on this involves cutting shapes from canvas and gluing these to stretched canvas prior to painting. When I use this method, I often determine the shapes and where they are applied by randomness.

Sometimes I use Artist's Hardboard as a support for various objects which are glued to the surface before painting. The location of these objects may be determined visually or by randomness.

In the past I was an active serigrapher and produced many pieces using hand-cut stencils. I even produced prints for other artists who either didn't want to or couldn't produce their own. This doesn't interest me now. The chemicals required for screen-printing are a little daunting.

Even though I am a fairly proficient computer user, I really don't have much interest in producing computer generated graphics. I use this tool occasionally and will not rule out this as a possible future medium.