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My Philosophy of Art – From my biography one can see the origins of my art subjects, influenced by the custom automotive and biker world. This includes not only flaming skulls but other common themes from this artistic subculture that includes biomechanical and steampunk styles. In addition, I have six sons who not only enjoy motorsports but also video gaming. Military style action games dominate their gaming world, and I appreciate along with them the cool images of heroes, weapons, and scenery that inventive digital artists have created.

So, on a superficial level, my art subjects can be seen simply as an enjoyment of the modern version of masculine style art with dominant themes of machines, military, and science fiction. This style is appreciated by both men and women, but mostly men. Also, as mentioned in my biography, the common thread in my paintings is a photorealistic style of something that does not exist in reality.

On a deeper level one can explore the merit of technology, industrialization, and war, and how these should be depicted in art. I believe there is a time for all things under Heaven, (Ecclesiastes 3), including a time for war and a time for peace. Although most wars are fought for the wrong reasons, some are fought for the right reasons. As such, any military themes that I may portray are meant to show respect for a job that some are called to do. A similar thought process can be brought to the theme of technological progress; there is both an upside and a downside to machines and technology. My art shows appreciation for man’s creative inventiveness along with the aesthetic appeal of complicated metal machines.

But automotive and biker art can and does slip into the realm that I would describe in broadest terms as promoting vice over virtue. Since I disagree with that type of art I try to be careful not go down that slippery slope. The flaming skull image stands as a sort of border sign or crossroads for me. I interpret it with the superficial interpretation of a “cool” image of aggression and as an icon of motorized art; but it overlaps with and stands at the beginning of a road down which I am not going to travel. Along the same lines, any image that could be interpreted as promoting a sort of “Rebel without a cause” approach to life, could also, in another context, also be interpreted as an “Outsider with a virtuous cause.” This latter scenario is what I would depict. Think of Mel Gibson in Mad Max and Russell Crowe in Gladiator.

My influences in style and skill have come primarily from Craig Fraser ( and Dru Blair ( I have taken airbrush classes from both. Craig is well known in the automotive/custom bike world. Dru is well known for photorealistic military aviation art. Please see more at their websites. Finally, the artistic technique of Molecular Artonomy.  This phrase is derived from Molecular Gastronomy. Molecular Gastronomy is a discipline of food science that explains and explores the chemistry of the cooking process, and how this knowledge of what is going on microscopically in a molecular scale can be used to understand, improve, and enjoy the art of cooking on a new level. So too, Molecular Artonomy takes advantage of the effect that an airbrush has to atomize paint into a fine spray, and to learn to use this characteristic to achieve high quality. This atomization allows the artist to more easily think of paint on a small scale, its interaction with the surface to be painted, and the subtlety of fades, transitions, highlights, and shadows that exist in reality; these subtleties can be difficult to reproduce with a traditional paint brush. So far, I have used this approach in achieving a photorealistic style of art. It could be applied to other styles as well. Molecular Artonomy plays to the strengths of the airbrush. It is a search for high quality art, Fine Art, through the use of a tool that is a very small part of the fine art world. Perhaps my art can contribute a bit more to this world.