Selection of abstract paintings

A series of paintings portraying food contamination by chemicals found within each produce/food depicted. These images deal with food production in an industrial society and the price we pay as consumers for our craving for blemish free produce. This all-year perfection comes at the expense of taste and, along with possible long-term consequences to our health, also affects our overall environment due to agricultural pollution.
In still life painting, the subject matter is rarely important for its own sake; rather, it most often serves as a showcase for the artist’s compositional skill and ability to render detail and texture. My approach is to reverse the priority, by placing more emphasis on the subject matter rather than compositional skills.
Each painting presents the viewer with a secret warning, a riddle of sorts, not meant to be understood by everyone.
Most of us know about pesticides, but few of us really know how much we are exposed to and how dangerous some can be.

A series of mixed media paintings featuring the landscapes of the San Joaquin Valley of California.
The San Joaquin Valley, with its fertile lands and easy water policies, represent a sort of Golden State – a state of abundance and wealth; now a bit tarnished by too much abusive agriculture practices and urbanization.
This body of work is created by mixing contrasting techniques - such as digitally manipulated photography, gold leafing, air brushing and painting.

Experimental works that are not part of any particular series.

A selection of representational works.

A series of wall-mounted assemblages made of unusual materials found at office supplies and hardware stores.

Art made during the artist's residence in Atlanta (1981-91). Little information remains about these works that were sold through the Ann Jacob Gallery (Atlanta).

A series of wall-mounted sculptures made of different kinds of spaghetti and noodles. These minimal compositions are an abstract interpretation of food containers and the disproportionate role they have in modern processed food distribution.
Each painted wood structure is covered with a very thin layer of dry spaghetti, glued strand by strand, one placed next to each other, row after row, to create a large three-dimensional linear mosaic. Some of the sculptures are designed as multiple units, created to incorporate the empty wall space between each section into an overall composition.
The variations of colors arise from the different ingredients used in the manufacture of the pasta itself. Spinach spaghetti are green, chili pepper spaghetti are red, and black spaghetti owe their color to squid ink.
Some incorporate the use of intersecting structures made of transparent Plexiglas. These dissecting plastic elements are abstract reminders of the spy windows used by many spaghetti manufacturers to exhibit the pasta within each carton container.
The nature of the pasta in these works is drastically changed to a point that it loses its recognizable shape, texture and use. In a metaphorical sense, the box containing the spaghetti is thus reborn as a box constructed of spaghetti. The packaging becomes part of the buying experience – food becomes art and entertainment.