My art is relational. I have always been fascinated by creation myths and I perceive the universe as having evolved from one catastrophic event. From one point, everything emerges, with the best scenarios trying to rush to completion.

I grew up in Chicago and lived for years in Montana. While there I studied medical technology and the life sciences. From the experience of being surrounded by the powerful presence of nature in Montana and my studies, I'm drawn to experimenting with combinations of elements, sometimes alluding to air, earth, fire and water.I try to represent nature's electron dance, with an ambient underlying sexuality, unfolding as a shimmering becoming—a synchronicity between disparate elements.

My theory of art and life is dialectical. From the one point of creation, all contradictions arise. I see my art as the struggle between thesis and antithesis.

On a more personal level, I use my art to work through my own contradictions. I'm a prep school educated white male who feels drawn to aboriginal culture and female consciousness. I'm an adult child of an alcoholic who hears the siren song of alcohol. I'm a politically-conscious man, who can be bewitched by women as sex objects, married to a feminist. I find meaning in grafitti, tattoos and the symbolism of urban America—the vernacular as they say.

I try to use my art to reconcile these contradictions and to acheive synthesis and— ultimately—transcendence.

I received a BFA from the School of the Art Institute of Chicago in 1970 and an MFA from the school in 1975.

I concentrated on painting in graduate school, but also studied performance. My work in the time arts led me to explore the use of the body in conjunction with other media, such as sound and film.

To continue the study of time arts, I studied drums in Montana for five years.