Perfection

This is one of the few pieces of art that I have not added any extra color to. The way it came off the plexiglass is exactly what you see here. What do  you think? Should there be any augmentation?
More art can be seen at:

Starry Night, Van Gogh

This piece is a tribute to VanGogh's Starry Night. It is believed that VanGogh's affliction with Epilepsy may have made him extremely sensitive to his surroundings. Tests have been run that show the air turbulence in Southern France where Vincent painted Starry Night closely resembles the turbulence in his painted sky. The turbulence itself can be explained using fractal geometry. To see more fractal art examples visit:

Fish Tail or Christmas Tree

This piece was created by lifting the paper by the corners on the same side of the paper. Once the lift of the corners met in the middle of the paper edge the pull was complete. What you see in this print is a function of your point of view. Is it the tail of some magical fish or is it a Christmas tree? 13 x 20, gouache and colored pencil. See more amazing fractal art:

Vetruvian Man, tribute to Leonardo DaVinci

Sometimes you never know where a piece of art will take you. This monoprint developed into an image that is very reminiscent of the art of DaVinci. See if  you don't agree. This piece is 20 x 26, done in gouache and colored pencil. See more of my art.

Dragons Eye

The mysterious dragon is looking back at you in this monoprint enhanced with colored pencil. The piece is 20 x 26 inches and is vibrant oranges and complimentary blues.

Refreshing Lemons

This art piece began as a mono-print using a process called decalcomania. This means that pigment was compressed between two surfaces and then separated. To do the separation on this piece I used a sheet of plexiglass with holes drilled randomly in it and bamboo skewers. The skewers are pushed through the holes, lifting the paper off the plexiglass surface. The result created the lemons that are splashing into the cool blue water.

In the Beginning

     I began playing with decalcomania in the art room using tempera paint and 80 pound sulfite paper. It was a lot of fun, but I was unsure of where to go with it.
     A trip to New York City answered some of those questions. I saw work that reminded me of my own decalcomania, although much more refined. The artist I was looking at used sumi-e ink as opposed to paint.

     As soon as I returned home I bought some sumi-e ink and continued to experiment. I found by pulling, pushing and lifting the paper in various ways I could alter results. I also discovered that if I used a synthetic paper called Yupo my results pleased me even more. Plus it gave me the added benefit of being able to lift pigment off the paper.  These are two of those early pieces.