In one way or another I've been involved in both art and science for most of my life. These two "cultures" are often thought of as isolated from one another, even natural enemies, but I've never felt that way at all. My art isn't necessarily meant to depict scientific subject matter, but of course it often creeps in through the back door. If anything, I think my artwork shares with science an attempt to experiment and play with things -- to explore, ask questions, solve problems. So, research labs and art studios can be similar environments for me. I know well that art and science can be serious, intensive pursuits, yet past a certain point I can't take either too seriously. And just beneath their obsessively ritualized and esoteric frameworks, both offer various pathways to discovery and wonder. The palettes, pens, paint, pixels, pipettes, protocols, probes, and picomoles ... the beakers and brushes....they are tactical tools and toys of the trade.

I don't have a specific raison d'être, rigorous conceptual framework, or strong thematic motive for my artwork. Though distinctive, it shifts from macro to micro, serious to comic, analog to digital, and probably jumps around stylistically as well. If there is an underlying philosophical vector or beacon for me, it's probably embedded in the Japanese saying "Shikata ga nai". Loosely translated it basically means "It can't be helped" or "Nothing can be done about it." I'm simply driven to ink, paint, and brushes by drifting currents of thought and feeling that I cannot (and do not wish to) control.

My work is currently represented by Davidson Galleries in Seattle, Washington, and I teach digital art, design, drawing, and scientific illustration at North Seattle Community College.