Although the medium is basic and consistent, each drawing transcends the very medium with a thematic energy which distinguishes it from the portfolio. The individual titles are revealing but they offer nothing definitive. Captured within the geometry the titles provide a reference point but like the images themselves, the titles are grammatically in movement. The effect is to control the sensory chaos, provide a psychological reference, and to alert the viewer to the artist's impulses. Of course, the viewer can inadvertently ignore or purposely reject these thematic signals, allowing for desultory impressions. Either response provides the means to control the spatial and psychological energy and to temper the chaos for a recognition of each work's inherent purpose and intent.  

Like modern Op-Art and contemporary Art Nouveau, I work with illusions that are designed, spontaneous and eclectic. The geometric shapes or the organic images demand dialogue and interaction; not passivity. To comprehend the complexity of the real, the viewer must recognize himself in flux, for the drawings capture the real but frame them in the absurd. That is, the designs are safely familiar, every image recognizable; yet the geometric environments are disturbing. From harmony comes disharmony; from the familiar comes the chaotic; from the safe comes the challenge. And what is perceived externally must be challenged internally. And therein lies my purpose and my goal. 

The contemporary artist's responsibility is to incorporate the individual on some level-the primordial, the conscious or the subconscious- into the work. The artist must probe, prod, provoke; he must step beyond solving sixteenth century problems about the nature of man, god and art. He must be sensitive to time, energy, matter, space while never losing the individual. Together the artist and viewer must provide shape or a new environment, a forged understanding of the future...