"It seems the longer I find myself making Art and thinking about Art, the more I realize how dependent I am on other Art for direction. It seems that I rely on what has come before to gauge my own work. That's not to say that I imitate (at least not consciously) what has come before but rather my assimilation of what I have come to understand Art to be determines whether or not I consider my work valid.

From the perspective of the early 21st century we are able to look at the evolution of image making from 'virtual reality' to prehistoric cave paintings. We may debate and speculate about perceived functions these images or objects might have had or have today, but I think we all agree that they are a part of every culture throughout time.

Except for the early to middle part of the last century, the evolution of image making in our culture tended toward ever-increasing attempts at imitations of 'nature.' That is, effects of light on color, accuracy or faithfulness to subject, the so-called "window on the world" and even the psychology of the subject.

Recently, when creating my art (aside from the choice of subject), my intent is to allow my powers as an imagemaker to flow unselfconsciously so that it retains a fresh aspect and can take on the qualities of 'living works of Art.' In other words, the bison you see is the real thing, not a portrait of a bison. My hope is that the viewer is a participant in the image making process and engages the works as one might engage a poem.

My work responds to issues that are important to me as a member of this mountain ecosystem. The large animals that represent the 'western mystique' seem constantly in conflict with the economic interests of this region. My works pay homage to the wild critters that are manipulated at the whim of those interests and yet somehow survive."