My childhood was spent immersed in the popular culture that millions of children were exposed to in the post war era of 1950âs America. Between watching the countless horror, sci-fi, war, cartoon, cowboy, and puppet shows that glowed from our black and white TV set, I had my collection of comic books and styrene plastic models to occupy my immature brain. My parents subscription to National Geographic magazine fueled an early passion for prehistoric man and primitive cultures.
All this under the looming threat of nuclear annihilation. I was a nervous, high-strung child and my mind was filled with a constantly shifting and swirling vortex of imagery in unnatural juxtapositions and combinations â pretty much the very definition of the word âsurrealismâ as stated in Websterâs Dictionary.
Like any artist of worth, it took many long years of struggle and investigative thought along with trial and error as well as constant honing of technique to reach the point where I felt I had created a language which, when spoken well, would command some semblance of purpose. I work in what is best described as a surreal style but filtered through the mind and eyes of what is, for better or worse, uniquely American.
