It is under construction at present. (January 2021)

The image on my Home Page is an installation of my artwork series titled "Birds in Peril" at the Mary Brogan Museum of Art and Science in Tallahassee, Florida in 2005. There one hundred bird silhouettes representing one hundred different North American bird species that are in decline, threatened, or endangered. The overall dimensions of the installation is approximately 6' Height x 36' Length. 
The bird images are based on Audubon's "Birds of North America" to reference a different time period when the birds were more plentiful.
Each image is painted using liquid asphalt on cement panels (each 18" x 15") to represent the loss of habitat than is the primary reason behind declining bird populations. The asphalt and cement refer to the loss of natural habitats as nature is decimated by mankind.
The silhouettes can be seen as the shadows of memory, suggesting that many of these bird species are disappearing and will only exist as memories some day.


I began working with bird images around 2003. I'm an avid "bird watcher" and very interested in nature and the environment, having grown up in a heavily wooded area that was reduced to shopping malls and subdivisions as I grew up. My parents always had binoculars and bird identification books on hand and we watched the migrating birds each year. So, when birds started appearing in my art I just though it was natural since I'd always been drawn to them.

At first birds were for me a way of expressing a spiritual connection with nature but after reading an article about the declining bird populations here in Georgia I became more focused on environmental issues instead.
I first started using cement and asphalt after seeing an installation of chandeliers crated with wax and artificial birds by Petah Coyne ( and was motivated to try different materials.

(in progress)


A few years ago I started creating ceramic birds, which I'd been wanting to do for some time.

My first series were colorful common birds, realistic but simple. Then I fired a couple of the birds using "pit firing" with a wood fire in a large container and the result was a blackened bird which I immediately was drawn to because Crows are one of my favorite birds. The Crow series began although the pit firing was too cumbersome to repeat. Finally I settled on using black clay rather than use glazes.

While studying painting at the San Francisco Art Institute I took my first classes in printmaking and fell in love with etching. I went on to focus on printmaking when I transferred to the California College of Arts and Crafts across the bay in Oakland.
I have also been more interested in drawing than painting and I feel printmaking suits me better.

An exhibition of Japanese woodblock prints in San Francisco changed my perception of art, perhaps in the same way the Impressionist were influenced, and I began to work with woodcuts as well.
Most of my woodcuts have been quite large but I have begun to work with smaller size prints recently using traditional Japanese printmaking tools.

PHOTOGRAPHY: In the High Museum of Art:

I work part-time at the High Museum of Art in Atlanta and have been taking photos of the neoclassical statues in their collection during periods of different light qualities primarily in the early morning. Years ago I did a series of paintings based on cemetery statues from Atlanta's oldest cemetery and I'm drawn to sunlight across the forms of figurative statues.

I also photograph the juxtaposition of artwork throughout the museum as well.

I use a small "pocket camera", Canon Powershot, and take quick snapshots using natural light. My job at the museum prohibits me taking photos "while on the job" so I sneak my photos whenever possible.


This was a series I began for an exhibition with one other artists (sculptor) at a small alternative gallery. We were both going to create nothing but birds and fill two rooms in the space. I was to do 100 paintings on panels framed in ornate black frames and the sculptor was going to create varied size wood sculptures of birds. But the exhibition never got off the ground because of poor gallery management.
These paintings are oil on gold foil (imitation gold leaf) covered Masonite panels, all 10" x 8 1/2".
By using the gold I was referring to Religious Icons and therefor called the paintings "Icons".