My home is my studio. I can't imagine a studio away from where I sleep, as I will often wake at all hours with an idea that I'll need to research right away, or work on a painting already in progress. I will often create my models with 3D software before I take it to the easel, so my computer and large digital drawing pad are situated so that the easel is in view of the computer

My reference material comes from many sources. I will often create my models with "Daz3d" or "Poser" programs, unless I have a model handy (like a friend or family member). Sometimes, while watching an old movie, I'll freeze an image and manipulate it in Photoshop until it suits the scene I'm thinking of. And then, sometimes, my material will simply come from an image I have lying around.

I don't think that I intend to convey hidden meanings in my paintings. I have a painting where a woman is doing a handstand over a cactus. I wanted to paint the cactus, then had an idea for the woman (my wife being the model) doing the handstand as if she were a flower growing from the cactus. Just one idea followed by another. Those paintings are a blast to put together.

When I'm not painting, I'm thinking about painting. or what to paint next. I'm usually planning my next painting while I'm working on my current painting. As for working outside of painting, I currently read newspaper and periodicals for the New Mexico Commission for the Blind. (Ironically, some of my good friends aren't able to see my paintings)

The last time I showed my work in a gallery was a few decades ago, when I primarily worked with watercolor and pastels. Since then, I've painted commissions of houses and people in oil, I've placed in some art contests, and have had a few of my paintings featured in magazines. I have only recently started seeking representation, and am currently researching physical galleries.

More behind-the-scenes (bonus features)

My past work leaned more toward realism, practicing detail with charcoal and graphite. Using anything interesting I could find as a subject. I never did get into extreme detail (hyper-realism), as I've always been too impatient, ready to start the next painting. Most of all, I have a love for the painterly effect. After taking a second job in my early twenties as a caricature artist in a big theme park, I found the freedom of improvisation to be more rewarding. Spontaneous brush strokes that look like they were thrown on. I work mainly from reference material, as opposed to plein air, or sittings. Not that I dislike live work (the best part of painting a person in front of you, is the real emotion they can't help but show... and to make them laugh!), my job back then was to make people smile while they sat, unsure they made the right decision in sitting down in the first place.