Most will agree that there is beauty in the sunrise, spring blossoms, a summer meadow and the reflected light on the loving face of a mother holding her new-born child.
Then there are buildings made to look like elephants, movie marquees, diners, neon, road-side architecture, iron lighthouses in the middle of the bay and the late afternoon sun in winter reflecting off the flanks of a massive steam locomotive as it backs tiredly towards the engine house after it's days work.
While not dismissing the former, I find my inspiration in the latter category. I have a passion for depicting railroad subjects, the seashore environment (natural and man-made), streets on rainy nights, nautical architecture and engineering, particularly bridges and lighthouses. I have an obsession with the lighthouse on Ship John Shoal in the Delaware Bay. This structure was displayed at the Centennial Exposition at Philadelphia in 1876 and placed on station the following year. Historical context is important to me as I will often recreate a subject as it once was as well as interpret it as it is in the present.
Then there are buildings made to look like elephants, movie marquees, diners, neon, road-side architecture, iron lighthouses in the middle of the bay and the late afternoon sun in winter reflecting off the flanks of a massive steam locomotive as it backs tiredly towards the engine house after it's days work.
While not dismissing the former, I find my inspiration in the latter category. I have a passion for depicting railroad subjects, the seashore environment (natural and man-made), streets on rainy nights, nautical architecture and engineering, particularly bridges and lighthouses. I have an obsession with the lighthouse on Ship John Shoal in the Delaware Bay. This structure was displayed at the Centennial Exposition at Philadelphia in 1876 and placed on station the following year. Historical context is important to me as I will often recreate a subject as it once was as well as interpret it as it is in the present.
I graduated from the Philadelphia College of Art (PCA now University of the Arts, UA) in 1976, with a BFA in illustration. I received the Marcel Vertes Award for use of the human figure in illustration.
In 1979 I began conducting classes in watercolor at PCA and later UA as well as classes at the Main Line and Cherry Hill extension programs. Throughout the 1980s I continued to teach watercolor as well as figure drawing.
When our first child was born I gave up teaching and concentrated on commercial work, the bulk of which has been illustration for packaging and concept work mostly in the food industry. I also found employment doing storyboards for video and marketing. I have also done work for various railroad industry related projects. I was art director for the National Railroad Bulletin and have designed and illustrated (as well as co-authored) various books on railroad history.
In 1979 I began conducting classes in watercolor at PCA and later UA as well as classes at the Main Line and Cherry Hill extension programs. Throughout the 1980s I continued to teach watercolor as well as figure drawing.
When our first child was born I gave up teaching and concentrated on commercial work, the bulk of which has been illustration for packaging and concept work mostly in the food industry. I also found employment doing storyboards for video and marketing. I have also done work for various railroad industry related projects. I was art director for the National Railroad Bulletin and have designed and illustrated (as well as co-authored) various books on railroad history.
