My first rule in playing with glass is to let it be itself by manifesting its specific physical properties. On a piece of wood cut to the desired dimensions, I project my image. After marking the image on the wood in light pencil, I’m ready to start gluing the glass. I prefer all the glass to be the same thickness. Each piece is cut by hand using glass mosaic cutters. I may have to cut several pieces to get the desired shape. Goggles are necessary as glass flies all over the room. Once all the glass is glued in place, I trowel white grout into all the spaces between. When dry, the glass is polished clean and any bits of stray grout are removed so that every piece of glass displays its unique shape. (WARNING: Never attempt to remove a piece of glass that has dried to the wood unless you are wearing leather gloves.) Then I paint the grout with watercolor, which matches the surrounding glass pieces. Again, the glass has to be polished after all is dry. The resulting piece is referred to as a ‘cold glass’ process, as opposed to ‘hot glass’ process, which is glass blowing and fusing. Mine take as much as a hundred hours to complete.
From "Shattered Blues"
There are limitless ways to apply color pencil to paper. It depends on the pencil manufacturer; sharpness of lead; number of pencil layers; weight, color, type and texture of paper; pressure applied in the process and direction of your strokes. For me, I choose to use the heavy pressure layering with soft lead. Once I select my image, I project it onto my paper and draw a rough image in regular leaded pencil. I then begin my drawing by layering in the myriad of colors that pencils are available in. Most of my pictures contain as many as 60 different colors. Pencils are not forgiving, so care is taken all along the way.
From "Danger Dance"
I’ve been painting in oils for over 20 years. I started with seascapes, switched to abstract, moved through pet portraits, florals and now mix my oils with different mediums. As far as I’m concerned, there’s nothing as sensuous as this medium with its playfulness and slow drying time.
From" Morning Feast"
Ah, the sheer delight of experimentation; must be the ‘scientist at heart’ expressing itself. From sawdust to cheesecloth, there’s no end to the possibilities of adding texture to oils, underneath oils, and on top of oils. Some mixes are disappointing and difficult to work with, but most excite and encourage me onward. The possibilities seem endless.
From"Coffee for One"