I can’t remember when I wasn’t drawing, painting, or up to my elbows in clay, nor can I remember a time in my life when I wasn’t obsessed with horses.

Initially my focus in art had primarily been commercial and freelance illustration as well as some graphic design for almost 20 years, however in high school and college campus shows I was also asked to contribute more traditional fine art several times to gallery exhibitions the schools were holding. Nearly every year from early grade school through high school I was asked to be in the local school exhibitions in the Ezra and Cecile Zilkha Gallery exhibitions at Wesleyan University; even when I didn't have time for art elective classes in my schedule I was asked to contribute some works I'd done at home by the schools' art instructors. And before then even I guess you could (humorously) even say my first work ever "hung" was in the Peabody Natural History Museum of New Haven CT - a youth all ages exhibit for which I received an Honorable Mention at the wee age of 4! But in all sincerity it's only been since 2010 that have I started to consider seriously entering juried competitions and compiling works that I hope will be suitable for this aim rather than focusing solely on works for hire or sale. Optimistically I say that I hope to have more to add to the professional accomplishments above.

I think it has been critical to my artistic growth to focus on the fundamentals needed to sell out editions and make a living doing realistic portraiture in a fairly saturated market. I've always had a style of very animated expressions. However in addition to just capturing expressive attitudes it truly has been a continually cognitive process to rein in the animated gestures to a realistic scope of what is plausible anatomy and believable in biomechanical movement. This in turn has driven me to find innovative ways to capture the most dynamic or compelling reality possible. As an artist it's given me a different and quite objective way to challenge myself technically to strive for this realism.

I’ve been very fortunate to have a family that both encouraged and taught art in collegiate and private settings. My grandfather (on mother's side) was a lead repoussé sculptor who taught in all media from his studio. Here I was encouraged to work in everything from pottery to stained glass. My father was a commercial sculptor who worked full time and freelance for companies such as Coleco, Olin Ski, Disney and Hasbro. In the studios of Coleco or in his home studio I watched my father work on tight deadline projects and probably developed an inherent approach to developing form without even realizing it. I now notice how the tools I chose and approaches I take often remind me of watching him work. Suffice to say that growing up I was extremely lucky to have some amazing studios and a wide variety of media to work in, as well as of course to have their wonderful guidance.

Initially I did not pursue art as a full time career, going into the field of biotechnology instead. I’ve always done freelance artwork part time however, from portrait commissions in ink to magazine illustrations. After college I began to do some computer art and graphic design and formed my business “One Horse Productions” for web sites and printed advertising. However soon after this I discovered the invention of two part hardening epoxy clays and eagerly returned to the more traditional art form of sculpting by hand. A sampling of my other work in various media can be found here. As for horses, from the earliest possible age I found ways to work off lessons and eventually buy and care for my first horse at age 15. I’ve also been able to have a wide range of experiences as a working student and groom for eventing and dressage instructors, retraining some horses for their owners and giving trail rides. I’ve also operated a small boarding stable to help provide for my own thoroughbred that I’d bred, raised and trained.