Though best known as a Neo-Modernist furniture designer/builder, I’ve always painted. Whether it was the pen and ink and watercolor studies presented to clients to describe furniture commissions, many of which were in part or completely poly-chromed, or the abstracted landscapes I’ve worked on for almost 20 years.

Today, I use watercolor cartoons to work out the details for frescoes of  ‘agricultural landscapes’, views taken from rural rides through the ‘great green slalom’ that is south and north central Kentucky.

Traditionally, the term ‘fresco’ has referred to the process of painting earth pigments and oxides, suspended in water and brushed onto a surface of wet lime plaster.  When this dries, the pigment is bound in the plaster, not on it. The technique I’ve developed differs markedly. However, given the very similar materials, a plaster of earth pigments and marble dust in a polymer medium, and that the color is in the surface of the plaster, not on it, I feel confident to refer to this process as ‘Fresco’.

Inspired by early twentieth woodblock  or woodcut printers, these images refer to the woodcut process in which each color is applied, one color at a time, similar to my own, and I encourage the comparison .

As the University of Kentucky, School of Art and Visual Studies, Art Studio Facilitator, I’ve acted as an aesthetic resource and technical support for faculty and students for over thirty years.