I've always been attracted to the anecdotal side of an image, to its capacity for visual metaphor. The "what" of a painting is usually its weakest element, even among many great artists, yet the "what" in art as in life is inescapable: put an ax or a pair of bikini briefs in the middle of any picture and try to avoid the gravity of their influence.
Contrast is perhaps the most potent device a narrative artist has in his arsenal. By placing two seemingly irreconcilable objects side by side, one creates a visual dialectic that explores the nature of each. Over the last 20 years, I have utilized this device through a series of visual variations in which a central theme contrasts with the images that seem to illustrate it, creating what I like to call static montage as the viewer assembles the diffuse images into a multifaceted whole. I have completed 13 sets of these visual variations and have 7 more planned.