PAINTINGS 2008 This year my goal is to further develop the use of verse as part of the underpainting, allowing it to bleed through the finished work in a somewhat random manner. I also hope to finish the new figurative Stations of the Cross (the fourth year I've planne	STATIONS OF THE CROSS Nearly thirty years ago I committed the unpardonable sin of making overtly religious art. (This was just a couple of years before Andres Serrano did his urinary thing.) This is my first set of figurative Stations, having made half a dozen abstract.	PAINTINGS 2007 This year, besides the usual problem I've set myself; (Making paintings which express the ordinary yet extra-ordinary, strangely magic moments life offers if we'll only stop and listen.) I'm working on clarity, and sureness in my brushwork. Some of the l

PORTRAITS AND PEOPLE Portraits, commissions, & paintings of people that I care about, know, or just find interesting.	MIRACLE TREE A Suite of paintings of the most remarkable, and somehow lonely tree I know. An old, six foot thick (at 3' above ground), rock hard Sugar Maple. Which has been tortured by time, harsh weather, deer, and cattle. It is a miracle of life.	LANDSCAPES Landscapes of the Missouri River Valley area. Monet once said; "People discuss my art and pretend to understand, as if it were necessary to understand, when it's simply necessary to love." If you can actually love a place, I'll take this one.

DEVILS BATH A suite of paintings from the woods which run through town near my home. In the woods are the ravines wich played an important part in The Civil War Battle of Marshall, near Salt Fork Creek. Locals have called this wooded ravine the Devil's Bath.	GOLDEN SECTION A Suite of paintings based on ideas born over the many years of study & thinking about Matila Ghyka's Great Book "The Geometry of Art & Life." Pre 2003	IN OUR TIME A suite of work I turned to during interesting times. When the world moved in too close and I needed to push back. Pre-2003

SHOULD I BURN ITA3BCK Paintings which have sat around the studio or in gallery back rooms too long. Should I burn them or keep them?