The Giclée prints available on this site are produced on high quality archival paper with superior long-life inks. All framing is accomplished by a professional framer utilizing acid free mats and top quality frames. Each frame/mat color combination is selected by the artist in concert with the framer to complement the colors and feel of the artwork. The artist signature and edition number is located on the bottom edge of each print, but for the sake of continuity and to maintain the feel of the original, this signature is not visible on our framed prints. To compensate for this, each mat is signed and numbered by the artist as well. A numbered certificate of authenticity accompanies each print.

The Limited Edition giclee process begins with an original piece of artwork, such as a painting or pencil drawing. The artwork is captured digitally and converted into a high-resolution digital file. When the file has been optimized for color and accuracy to the satisfaction of the publisher, printer and artist, it is output using a state-of-the-art printer in which super-fine nozzles spray microscopic droplets of ink with extreme precision onto a surface. It takes an hour or more to print just one high caliber fine art giclee.

Our giclee editions are created on archival fine art paper. The paper stocks are selected not only for their exemplary archival qualities, but for their receptivity to the printer inks, the purity and brightness of the surface, and the fine art texture that appeals to the eyes and hands.

Each piece of art is individually approved and signed by the artist.

With a formal education in fine arts spanning over six years and an apprenticeship which lasted two, I found myself addicted to the learning process. Now after more than forty years of practice, I still considers myself a student of the arts. I believe the art of seeing requires in-depth scrutiny before understanding is obtainable; and understanding is a prerequisite for anyone attempting to master the visual arts.

It's evident within my work that the experiments are still going on. I have studied most every media, though as of late, the majority of my finished pieces are done in colored pencil, a media that lends itself nicely to high detailed realism art. Though I prefer to work in Realism, I have done many Abstract, Surrealism, Expressionism and Impressionism works as well. I have also dabbled in sculpture such as wood, stone, steel, concrete and even industrial plastics. In the 1970s and 80s, I was more known for my light sculptures; some computer driven while others dealt with natural light. It's all a learning process to me, one that will continue until I am unable.

The majority of my work is done in colored pencil which lends itself well to realism art, however, I like to experience many medias and will often work in watercolor, pastels, oils or a plethora of other materials. I will try anything.
I apprenticed under watercolor artist Albert Ondush of Clarks Summit, PA 1963-1966
First group artist exhibit at the age of 16 in Scranton, PA 1966.
Since then, I have exhibited in countless sidewalk shows around the country and had my work in galleries from Florida to Maine and as far west as Colorado and New Mexico.
My most notable exhibit being a one-man light sculpture show at the High Museum of Atlanta in 1980 where I displayed a computer driven light mobile called 'Dimensions in Light' in a 20x40 foot room at the museum.
Currently my work is shown in group exhibits and galleries around Maine.

Creation turns me on. From the blank paper or canvas to the finished piece of artwork, it's the process that feeds the soul. The challenges are many and the rewards are few, however the effort is well worth it.

Unlike any other trade or profession, the artist must make many decisions while doing his/her work. Decisions about what media, subject, size (horizontal or vertical), to what size and angel of stroke of the brush or pen, what color combinations, amount of contrast, on and on and on. From start to finish (including deciding when the job is truly done), every movement of the hand is based on a decision (often unconsciously). I venture to guess that the visual artist will make far more daily decisions than most other professions. It is an inherent part of the process.

I usually set a goal for any particular project; for example to do a pencil drawing of a foggy scene with a dingy in the foreground, showing subtle hints of a sunrise, all done in 45 degree right angle stroked colored pencil lines. If I reach my goal––Great; If I don't––the trash bin. If someone likes the piece and actually buys it. . .even better.

Let's face it, it's all a matter of taste. It's that gut feel that induces a person to purchase a piece of art. Even if you're buying it as an investment, you still must ask yourself one final question; Do you like it?

Well. . . do you?

Pease enjoy your visit to my on-line gallery and come again soon; I am always changing the exhibit.