The small sculptures had begun to feel repetitive after about a hundred works or so, and seemed to have run their course. By the mid-late 90’s the paintings were a side track toward more a more “realistic” imagery whose subject mingled animals in landscapes (below left: Swirl, 2000, o/c 72”x84”; below right: A Magpie, 2004 o/c, 12”x 16”). These new paintings seemed to encourage a storyline, but were really nothing more than what you invested them with. By 2005 the animal references were abandoned, and I began the large dramatic landscapes I call the Natural Phenomena paintings. Straight forward and earnest, these paintings depict what I knew, or thought I knew, about grand mechanisms and invisible forces, and luxuriate in my love of the painted surface.