In my Oils and Mixed Media Paintings, I work with oils in a glazing technique that dates back to the High Renaissance in which I meticulously build the painting's surface by layering in dozens of translucent glazes. This classic approach invites forms and the spaces in which they breathe to emerge slowly and allows the many layers of luminous color to coalesce within the viewer's eye. I often blend ground, semi-precious stones into the oils to add a jewel-like quality to the surfaces and to imbue their energetic vibrations into each painting. My paintings are most often built loosely on a grid that is either geometric or concentric in order to create an underlying structure over which the organic forms can freely move and breathe. I also often imbed tantric sound frequencies into the wet media with my consciousness, breath, and specific instruments in an ancient shamanic tradition that I learned in a Tibetan monastery and was given permission to use. In this process that is many thousands of years old, it is believed the paintings then exist in a transformative relationship with their surrounding environments by emitting beneficial healing vibrations long after they've dried, and which can be felt or "heard" within the viewer's spirit.

In my Mixed Media Works on Paper, I combine many traditional art such as 23 K gold leaf, pastels, graphite, ink, watercolor and others with pollen, ashes, ground semi-precious stones, text, thread, tape, cloth, wax and many other found and altered substances. My current series of 12 works on paper titled The Primordial Elements is based on an exploration of the energies that, according to some of the oldest texts known to humankind, are the primal forces that are continually creating all of life.  My work is process-based, and I intuit these energies until I feel them in the core of my being, and bring them into the visual field by combining specific materials on sized printmaking paper. The sizing allows the materials to sit in relationship with each other on the skin of the paper, and to coalesce into new matter when I singe them with fire. In this contemporary form of alchemy, I draw with fire by blowtorch and candle flame to merge the previously separate materials into a blend that is now completely new, and therefore the very embodiment of transformation.