I am an artist, not a writer. My Intent is not to educate, enlighten or inspire but rather to clarify my motivations to myself. I find that when I write down the thoughts and reasons that I take certain paths, it helps me to avoid repeating the same mistakes over and over again. Let's face it, authentic work evolves through a series of mistakes, lessons learned and options eliminated.

Thursday, November 3, 2011


“Circumscribe”  38”x 32” polished cement & dry pigment on panel
"click to enlarge"

In this piece I have cut the image into irregular shapes and reassembled them in the order they were painted.  I like the tension created by the vertical white lines as they conflict with the curvilinear segments.  In future works I plan on arranging the pieces in different orders.

Saturday, September 10, 2011

Art is Composed of Energy

     I work in cement. It is perceived to be a very dense medium, as solid and unmoving as stone. But in fact, recent studies in Quantum Physics have brought forth the theory that solid matter is an illusion and everything in the universe is actually composed of empty space and energy.  The atom is the basic building block of matter. When you break down an atom you discover mostly empty space with energy revolving around a nucleus. if you break down a nucleus you find even more more space and energy revolving around sub atomic particles. The point is, science has been unable to find anything that cannot be broken down into more energy and space.  What effects our perception of objects is the rate of vibration or frequency of the energy that comprises it. A rock vibrates very slowly with it's matrix of atoms close together, and is perceived as dense. Water vibrates very fast with its atoms far apart. Our thoughts are composed totally of energy so it is not such a stretch to say that thoughts are as real as something that can be perceived by the five senses.  If thought is made of the same stuff as everything else in the universe and its perception depends upon its rate of vibration, that vibration can be changed or modified by the interaction or contact with other energy and vice versa. This opens up a whole world of possibilities relating to the power of thought!  I am not really sure where I am going with this, but I know that your thoughts influence your mood or how you are feeling at any given time, and I know that music can dramatically influence your mood.  I think that the literal vibration of sound  in music can dramatically alter the frequency of thought.  The same is true, on a much more subtle level, of the visual arts.  While creating art I am in the zone.  My mental activity reaches an alpha state of vibration.  I feel it is possible to influence the vibration of the atoms that make up the art I am creating.  To restate, art is composed of energy and the vibration of that energy can be influenced by the mental state or thoughts of the artist as it is being created. If this is true, then it is possible that looking at art can influence the thoughts and even the mood of the observer in a  more basic fashion than just by color, subject matter or symbolism.  Imagine if you had to listen to the same music  playing all the time, its powerful vibration would soon become grating and annoying. But the subtle vibrational frequency of a painting or sculpture can be lived with and effect your thoughts or mood on a day to day basis.

Your thoughts?

Friday, September 9, 2011

Hard Knock Life

“Hard Knock Life”  24”x 36” polished cement & dry pigment
(click to enlarge)

It continues to amaze me, the more control that I give up, the more things work out.  Trust in that fact can give you the freedom to break old habits and forge ahead.

Wednesday, September 7, 2011


"Remus"  8"x 24" polished cement & dry pigment

I am experimenting with small square tiles created one at a time that can be assembled in many different positions.

Wednesday, August 10, 2011

Swing Shift

“ Swing Shift”  36”x 30”
 polished cement & dry pigment on panel
(click to enlarge)

Wednesday, July 27, 2011

Angry Blurbs

“Angry Blurbs” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Thursday, July 21, 2011

Joshua Tree

“Joshua Tree” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

Wednesday, July 13, 2011

Barely Legal

“Barely Legal” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

This piece uses a technique that I discovered out of desperation, trying to save the previous painting on this blog. I used a sharp flat metal scraper to exfoliate and simplify the surface, partially exposing underlying layers. This gives me another tool in my bag of tricks to help get my backside out of a sling when I've taken an image too far.

Sunday, July 10, 2011

Third version after input from blog

“Prolapse” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

I posted a second version of this piece on my blog and Mary Zeran confirmed my suspicions that I had taken it too far. Thanks Mary. I liked my first version enough to post it but it started to feel shallow after awhile. So, fools rush in, I over did it to the point that, as Mary pointed out, the simplicity of the earlier version was lost. Working in cement presents problems when you try to work back into a piece but at this point I had nothing to lose. With the help of a metal scraper and an electric grinder, I tore into the surface removing layers and pigment. After looking at the result, I decided to rotate the art into a vertical position. I agree with Mary that I'm loving the virtual critique aspect of my blog. That being said, is this third version an improvement over the second and even more important is it better than the first?

Saturday, July 9, 2011

Sometimes I post a piece too soon. After I lived with it, I had to finish it.

“Prolapse” 31”x 38”
polished cement & dry pigment on panel

After I lived with this a while, I decided it needed more work. Sometimes my best pieces are ones where I took a chance on ruining OK image in order to make a great one. Compare this to the previous "Prolapse" two posts ago and you be the judge. Did I over-do it?

Thursday, July 7, 2011

I need opinions on experimental piece

“Haviar” 21.5”x 33.5”
polished cement & mixed media on panel
(click to enlarge)

This image is a result of some experimentation with adding different material to the cement and playing with the earthy textures that resulted. I would welcome any opinions on this new direction.

Sunday, July 3, 2011


“Prolapse” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

OK, I have recovered from my show and settled back into producing work at a not so insane pace. I find it interesting, how seeing many pieces of your work together at one time in new surroundings can give you fresh insight and better understanding of the direction your work is taking. I don't know if other artists do this, it seems kind of indulgent, but I get a lot out of just sitting in a space full of my work by myself and not so much looking at it but, more aptly, communing with it. This process brought me to the realization that I have come a long way in a very short time.

Saturday, June 25, 2011

I just published my new website and need opinions

I would appreciate any input about my new web site. Click here Please check it out and let me know what you think.


Sunday, June 19, 2011


“Warrior” 20”x 27.5”
polished cement & dry pigment on panel
(click to enlarge)

Here is the finished piece completed during the gallery talk.

Heart of a Warrior Foundation gallery talk

On june 17 the International Museum of Cultures and I had the opportunity to present a gallery talk with a group of young people while producing a new piece of art. This event was sponsored by the Heart of a Warrior Charitable Foundation. It was a rewarding experience and a great time was had by all. The completed piece was donated to the foundation.

Monday, June 13, 2011


“ Fuera” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

Ok, my show is up and I have rested a bit. The walls in my studio are so bare that I just had to produce something to fill the space.

Tuesday, June 7, 2011

Photos of My Solo Show

Over 100 people attended my opening at the International Museum of Cultures. I had the use of a huge wonderful gallery space that showed my work to advantage and I enjoyed excellent coverage from local Dallas newspapers and TV stations. In addition, I received an offer of another one man show from an area gallery and several possible sales are pending. I'm a happy camper!

More Photos of My Solo Show

Saturday, June 4, 2011

My Show Was a Success!

Here I am placing the finished demo piece on an easel after it was removed from the forms
Marianne Phelps pours pigment on the art during the live demo, making me feel rather pointless. Good job Marianne!

I encourage people to touch my art, after all it is polished cement. Here, Kathy Elliott, Holly Corley and Marianne Phelps take advantage of the opportunity.

Live Demonstration Piece

“Fandango” 21”x 30”
polished cement & dry pigment on panel
( click to enlarge)

"Fandango" was completed on opening night of my show, with the help of of some very brave patrons. I had never done this before. I thought it would be an interesting experiment to involve the crowd and see how art by committee might turn out. Patrons selected cement shards that would go into the piece, poured liquid pigments and etched marks into the composition. I poured the background cement into the forms and we waited for 45 minutes for it to set. It was great fun to be able to remove the forms and turn over the art for a "live" reveal! Everyone then voted on which end should go up and what the title would be. I guess this just proves that anyone can do this stuff! The finished piece was donated to the museum for a silent auction.

I will post actual shots of the gallery installation in a upcoming post.

Thursday, May 26, 2011


“Portal” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

Tuesday, May 24, 2011

I am three pieces shy of a show!

“Bealistock” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

"Three pieces shy of a show" sounds like I'm dealing with a mental deficiency. Truth be told, I have 4 days to produce three new pieces so I am feeling a little insecure and pressurized.

Sunday, May 22, 2011

Harbinger 2

“ Harbinger 2” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

Friday, May 20, 2011

One more week end before I hang my show!

“Sandival” 38”x 31”
polished cement & dry pigment on panel
(click to enlarge)

As the deadline approaches, I find myself working frantically. I promised 30 new pieces. What was I thinking! They can't just be new, they have to be good. At this point I have lost my objectivity, I just have to continue and trust that art will turn up.

Thursday, May 19, 2011


“Hollister” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Friday, May 13, 2011


“ Fizgig” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Wednesday, May 11, 2011


“Cranapple” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Thursday, May 5, 2011

Totem II

“Totem II” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Nothing like an upcoming one man show to make you crank 'em out!

Wednesday, May 4, 2011

Mailer for My Show

Back of the card

Front of my postcard mailer
(click to enlarge)

Tuesday, May 3, 2011

Lasiter reworked

“Lasiter” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

As predicted, I felt the need to rework this piece. I'm glad I did! I am putting it on the cover of my mailer for my upcoming show.

Sunday, May 1, 2011


“Verbatim” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

I felt the need to introduce a little color.

Wednesday, April 27, 2011


“Lasiter” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Friday, April 22, 2011


“Blaylok” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge"

Lately I have been working in a whirl wind, trying out new ideas and techniques as they pop into my head. Sometimes I start with a concept or intent but when I begin making marks, it often goes right out the window. I decided to take time to process what I have done lately, let it sink in and filter out what I have learned that was applicable to future work.

In this piece I have tried to distill my intent, sharpen my focus and simplify my execution. I studied my past work and asked myself, "What do I like, what feels like me?" Determining that, I discard everything else! It is a gradual process, I admit but I feel that I am pointed in the right direction.

Thursday, April 21, 2011

Texas Bluebonnets

(click to enlarge)

I took these photos this weekend near my home in Cedar Hill. Even with the prolonged Texas drought and all the runaway wildfires, this hardy wildflower manages not to disappoint. I sat in this field and was overcome with the unbelievable sweet fragrance that left me slightly dizzy. This flower reminded me of the tenacity of my fellow artists who survive and flourish against all odds.

Wednesday, April 20, 2011

Harmony Grits

“Harmony Grits II” 31”x 38”
polished cement & dry pigment on panel
"click to enlarge"

Thursday, April 14, 2011

Kachina Revisited

“Kachina” 32.25”x 21.5”
polished cement & dry pigment on panel
(click to enlarge)

With the advent of my experimentation with adding oil paint to cured cement, I could not resist revisiting a prior work. This technique affords me additional control of the final look. I must be careful not to over-do.

Monday, April 11, 2011


“Nocturn” 19”x 15”
polished cement & dry pigment on panel
(click to enlarge)

Thursday, April 7, 2011

Re-Refining Succotash

“Succotash” 31”x 38”
polished cement & dry pigment on panel
(click t0 enlarge)

Have you ever had one of those pieces that just wasn't quite there? You have great expectations as it sets there in the corner waiting for you to give it that last little tweak. You like it but you don't love it. Do you leave well enough alone or risk ruining it with a bungled final touch? Sometimes you just have to be brave and take a blind leap. This piece was featured in progress in a previous entry (click here to see). What do you think, is it better or not?

Tuesday, April 5, 2011

How is Abstract Art Like Ballroom Dancing?

My wife and I were looking for something that we could do together other than eat out or go to the movies. We settled on ballroom dancing as a method of enjoying more quality time with each other. When I was young, dancing was more or less an individual sport. You stood on a crowded dance floor and did strange gyrations with no regard to whether your partner was even in the same room. In order to actually dance together, my wife would need to be able to anticipate and follow my steps. I realized we needed a plan. We decided to take lessons. If you break down dancing it is basically walking. I figured, I could walk. In the past when I wanted to learn a particular dance step, I would watch someone else perform the desired action and I would simply repeat it. I found that when taking lessons the act of walking had to be broken down to it's basic components so the student could grasp it's complexity. First you had to listen to the beat and be able to determine what particular walking pattern was appropriate. The man always starts with his left foot. The steps are dictated by hieroglyphic foot diagrams accompanied by verbal directions concerning the transference of weight and hip action, keeping in mind whether heel or toe contacted the dance floor first. All this is performed while quietly repeating to your self "slow, slow, quick, quick". Being an artist, and a visual learner, following this regimen resulted in a frustrated zombie like performance that reminded me of Michael Jackson's "Thriller" sans any discernible rhythm. The point I am trying to make here is that there are rules that have to be learned and then practiced. You have to be willing do a lot of really bad dancing over a long period of time. It takes time for basics to become imbedded into one's subconscious to the point that you don't even think about them. Here is the strange part, to be a really good dancer you have to be able to break the rules. So a good question would be, wouldn't it be easier and quicker not to learn the rules in the first place if the ultimate goal is to ignore them? I think it would be quite obvious to the casual observer, the difference in the performance between the person who never learned or understood the rules and the person who absorbed and processed them to the point that they were no longer bound by them.

Abstract art, or for that matter, any form of art, is subject to rules pertaining to the use of form, line, texture, color, balance and rhythm along with many other factors. Basic fundamentals that need to be learned practiced and understood. If not, the artists is limited in creative options and potential. Some lucky few, intuitively understand what makes art work. Artists often speak of working on auto pilot and not over thinking their art, relying on gut instinct. This works best when those instincts are grounded in sound knowledge and experience. A good abstract painter does not paint non-objectively because he has to, but because he needs to.

Monday, April 4, 2011


“Meapaso” 25”x 20.5”
polished cement & dry pigment on panel
(click to enlarge)

How about some really bright cadmium orange!

Friday, April 1, 2011


“Happenstance” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

Here I am trying to balance a calm color field against a more complex area. I have embedded nylon drywall tape in the surface to create texture and tie the two areas together.

Tuesday, March 29, 2011


“Obbligato” 31”x 38”
polished cement & dry pigment on panel
(click to enlarge)

In this piece I am experimenting with different methods of application, scrapers, rollers and spoons to name a few. I find that I am staying away from traditional brushes and artists materials. Everything I use can be purchased at Home Depot. I'm not sure why I'm drawn to construction materials and methods of application. I would like to believe that I'm making some statement about how art can be made from anything, but the truth is, it agrees with my sensibilities and just feels right.