The struggle between good and evil inherent in human existence is a recurrent theme in my work. Perhaps for that reason, the human figure is central to my art, as are psychological and social factors. Within that context, I find that two aspects of my work are in constant tension: a search for universal values on the one hand, and introspection expressed through imaginative fantasy on the other.

The subjects that attract me most are those that have a timeless and objective appeal. I seek to express the universality of human experience rather than the success or failure of one individual, one time, or one moral perspective. I also try to anchor my work in an accurate, dispassionate representation of nature, even when depicting unnatural subjects. For example, I keep a bird's wing in my studio for reference in drawing the wings of angels, muses, and other wholly imaginary beings.

Yet at the same time, my style is highly idiosyncratic. My finished works are often made from pencil or charcoal studies, in which the initial drawing is tentative and exploratory—to some extent automatic, a technique that lends itself to imaginative fantasy. The intricacy of my work also allows room for improvisation through inventive detail. These spontaneous processes allow me to reveal the darker recesses of the psyche, both my own and, I expect, the shared unconscious of all times and cultures.

In form, my work is predominately linear rather than modeled. For me, the line is paramount and is at once sensual and precise, organic and mathematical, animated and eternal. Perhaps for that reason, in addition to painting I currently work extensively in the intaglio print medium. I feel that the discipline of that medium and the subtle transformations inherent in the print craft inform and enhance my work.

In all, I hope to achieve an art rich in the complexity of human experience with profound moral and ethical significance.