The editor, Curtis Deeter (Of Rust and Glass), was interviewed on Toledo channel WTOL 1-14-2020, speaking about the e-zine and I am mentioned and my work is shown on the cover:

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Current News and Events:  ​(*denotes online exhibition)

•  "2020 Piqua Fine Art Exhibition", Apple Tree Gallery, 2nd Place 9/3 - 10/2*

​• Children's book I illustrated is now published: "Kinsley's Snowflake Dance", by Lynn Nye
•   "HomeWorks", Ohio Art League, Columbus, OH*

•  Accepted, "TFAS 100+3: Juried Members’ Exhibit", 20 North Gallery, Toledo OH

October 9 – December 26.  Opening Reception:  Friday, October 9, 6 – 9 p.m.  

•   I am putting together a show for the Blanchard Valley Plein Air Painters to be held at the Diane Kidd Gallery at Tiffin University Aug. 24 - Sept. 30, 2020 *UPDATE* This show will be ONLINE due to the gallery's air conditioning compressor breaking, TBD.

•  Accepted, Mansfield Art Center 75th Annual Aug. 16 - Sept. 13

•  Accepted as a Signature member of the Ohio Watercolor Society, as well as artwork which will be part of:  “Ohio Watercolor Society's 43nd Annual Exhibition"   Fisher/Wall Gallery at the Marathon Center for the Performing Arts, Findlay, OH

•  I am one of 6 artists chosen to create a landscape Painting depicting an assigned site on the University of Dayton (OH) campus. This call was put together by the Dayton Society of Artists.

• My 2019 winning entry in Riverside Art Center/Armstrong Air and Space Museum's, "50 Years of Space" has been reproduced on an electrical box to further the 50 years of space celebration, around Wapakoneta OH

• Chosen as 1 of 2 Ohio Watercolor Society artworks for state representation in the National Watercolor Society's 50 Stars Exhibition. Two artists are chosen from each state-level watercolor society.  ONLINE: July 9—Sept. 13, 2020 

• Reproductions of "The Old House" are available through the Anthony Wayne Area Arts Commission..

•  Accepted but the event has been CANCELED:  September 19, 2020 ArtWalk on the Bay, 10am - 4pm Point Place Toledo, OH



“Classic” Artist’s Series Statement:
Nature, structure and classical techniques, sum up my landscape, still-life and portraiture.  

Artistically,  I find heavy influence from the likes of John Singer Sargent, but God's marvelous creation provides all the rest.  I spend a lot of time ‘thinking’ on our farm as I’m weeding the garden or doing chores... caring for the animals.  Finding appreciation in the 'every day'.  Negative space is just as important to me as positive space between objects so in this 'thinking' I am always ‘sketching’ in my mind and then later, shaping all references to fit that 'sketch'.  Seeing that everything has purpose, it is then that I can go further and add elements that tell a story (the 'Illustrator' in me), because I want people to linger, to look and discover. 


I am recently enamored with the use of yupo paper for my watercolors because it keeps me from going "too tight" and pushes me to experiment and explore; which I feed off of.  I also am drawn the the natural luminous quality that yupo affords.


Watercolors untainted with corrective opacities;  oils built up from value studies, inspired of old masters, is structure that I enjoy in this vein of work.​

“Hands” Series Artist Statement:
To this artist, hands are a beautiful thing. Hands nurture; they toil, they bless - they strive. Beyond prayer, hands empower the soul. They also tell every story under the sun. Trial to triumph, compassion to crucifixion--these hands are filled with every line of life.


My works convey an underlying spiritual theme; with overtones of societal issues. The element of 'hands' depicted are an important vehicle to deliver an expression of emotions that need no face to convey, no voice to tell. To the spiritually sensitive, rich meaning can be drawn; while the rest may find themselves moved by the emotional tone of the piece, depiction, or left with a hunger to discover ‘why?’ ​


I use an earthen palette which holds a feeling of age... history, treasured memory.  Mixing media helps me flow with what is best for the piece. Focal points needing depth and opacity while inherent darkness to a work is often used to convey a dreamlike 'state of thought' or as an ‘underline’ to the deeper spiritual message I am intending to convey. Dimensional objects are often inserted; that element of texture is an important means that brings ‘physicality’, --that drawing sense of ‘Touch’.
Through such uses, my desire is to pull the viewer into empathy; fusing personal life experience with the message and emotion that the painting exudes.

The ‘Hands’ tell the story. I have found that if I cover the artwork and leave only the hands showing, that there must be a story, an emotion -- a sense. If it’s not there, it’s not ‘Hands’.