My art and its processes of drawing with graphite on Mylar are about seeing things better and stopping to investigate all of the details that make a physical object. Really "Seeing" is never as simple as it’s a drawing of a historic western saddle or it’s a reclining nude. It’s much more complex than that.

As an artist, I’m always trying to see if I can better master my technique. Can I draw feathers? Can I draw weathered leather? Can I draw a shiny object or a woman’s luminous skin? It’s about not only the object shown but the technical challenges presented both by the process and my medium. With my chosen medium of graphite-on-Mylar comes inherent advantages, like I can create a photo-like quality, and disadvantages such as the tiny highlights so difficult to capture. In the latter challenge, I might draw the object in negative, like a photo negative, wherein lights are dark and darks are light. When the final drawing is complete, I have the image scanned and reversed to reveal a positive image of the original object. The depth of field, as well as light and contrast, all improve dramatically via this method.

My work attempts to include what I call a “window of accessibility” for the viewer, in that I choose subject matter somewhat familiar in form. But the subject presents itself so that the overall visual interest grows as the viewer investigates first the work’s technique and accuracy, followed by the overall composition — and finally the underlying story that I’m telling. I design my work to be declarative and intentional with no happenstance to complicate the work. My works are intended to make you look, look again, and then ask questions.

I choose interesting subjects like people, saddles, skulls, and guns, all of which are detailed in historic texture and sometimes infused with sexual tension. The works always include extraordinary attention to detail so that the scratch in the leather or the scar on the skin all give relevance and realism to the overall object being scrutinized. When people think these works are photographs, the first level of interest is accomplished. Then when they look closer, they begin to understand the underlying meaning of the work. First I must capture the viewer’s attention before they can enjoy and be informed.