Six works on paper in watercolor, ink, pencil and acrylic paint; assembled into a diptych arrangement stacked vertically to recall the expression of tablets. These are personal interpretive works seeking visual expression of the Jewish moral and spiritual tenets. the motivation for the work was a response to the call for the display of the Ten Commandments throughout classrooms in America despite the call for the separation of religion and the state in the Constitution. If we are going to ask children to consider ideas of this nature in the context of their secular educations perhaps, we should also encourage their consideration of the emotional and conceptual content of such ideas.

3 panels: 36 x 24 inches each

Expressionistic painting in response to the chaos in the streets of Los Angeles in the summer of 2025. Watercolor and ink on paper. 16 x 20 inches.

L.A. Night: 

One evening during the L.A. disturbances, I retreated to the studio after dinner. At first, I tried to focus on two pieces, visions of cities, that have been on the painting wall for a while, but that effort lasted a short time when something clicked in me, and I felt the need to hang a fresh piece of canvas paper on the wall. Out poured a torrent of gestures in paint with marks and strokes colliding and splashing and mixing in a frenzy of wet-on-wet painting in ink and acrylics and water. As I emerged from the studio late thinking, “I'll resolve it better in the morning.”  When morning came though, with fresh eyes I saw the painting, its mess and storm of lines, its drips and cacophony of marks, was an honest and purer expression of the emotions swirling inside my heart and head than I had understood the night before. I see no reason to alter it at all. It may not be a pretty painting, but it is hard to see the pretty parts of the world right now. I thought of naming it “Homeland Security”, but the title “L. A.  Night” captured my thoughts.

An expressionistic reaction to the occupation of Los Angeles in the summer of 2025 by National Guardsmen and ICE officers. Watercolor on paper mounted to board. 18 x 18 inches.

L.A. Days: It seems the key to releasing my energy as an artist has become one of a visceral response to things happening in the world. I had been slowly completing this work which I was referring to as my puzzle painting, because it was made from the discarded pieces of an earlier failed work. It came to a resolution, finally, full of tension, disruption of color elements, and gestural marks. It was figuratively and literally a struggle to achieve. Created during the turmoil in the streets of Los Angeles last spring it seemed to capture the sense of the moment.  I titled it “L.A. Days. 

Watercolor, ink and pencil work o handmade paper:  An homage to the Ukrainian nation and its people in their struggle for continued independence and freedom. Loosely modeled on the Ukrainian flag, it depicts a city under siege yet surviving.

Watercolor and ink on paper, 15 x 22 inches, Geometric patterned design in overlapping squares.

A watercolor and ink painting on paper. A non-objective expression of lines and painted washes of color aimed at capturing visually the feeling of a certain kind of jazz music

12 x 12 inches

Mixed media: acrylic ink, watercolor and pencil on paper. 24 x 36 inches. Imaginary architectural scene, in bright colors an invented construction of cubic forms that assemble into a temple-like structure.

Mixed media: Acrylic, ink, watercolor, gauche and pencil on paper. 12 x 18 inches, Imaginary architectural scene, temple forms partially in ruins.

Watercolor, ink, pencil and gauche on paper, 12 x 18 inches,  Imaginary architectural scene, invented urbanism.

Reflection: The City in Autumn, 32 x 40 inches - Acrylic, ink and pencil on paper mounted on board

I believe buildings must age and gain a certain patina to their surfaces and forms in order to become interconnected with the fabric of the places they inhabit. The textural area and color variations throughout this piece are gestures and marks reflecting the way the painting was made and my vision of the city as a place. The painting was made in multiple parts, put together, organized, and designed over an extended period with substantial use of layering of geometric elements and painted areas one over the other. It has been developed to intentionally appear worn, aged, or weathered. It's a deliberate attempt to make it look less than perfectly smooth and pristine. 

All of this is connected to my understanding and vision of a city as a place of great wonder, mystery, and delight. Yet, cities are also marked by age, use and wear and tear of the passage of time. In this work my idea of the city as simultaneously modern and ancient is represented by strong color, shadows, competing vistas and areas simulating age through texture and variations in tone and color, like that of an aging wall, such as the ones I’ve encountered and marveled at in the cities that I love. 

We are always in the process of tearing down and building up our places, our towns, our cities, which for me makes them so interesting and worthy of attention. I do not see cities as museums or as perfectly preserved monuments in time. They reflect the patterns of life strongly associated with the people who create and dwell in them.  Like us, our cities are formed by aspirations towards perfection but also reflect elements of imperfection. The markings throughout this painting and the composition of its forms, as in many of my works, are intended to shed light on this dichotomy.

Acrylic and ink on paper, 14 x 14 inches

Acrylic, ink and pencil on paper, 14 x 14 inches

Acrylic, ink and pencil on paper, 14 x 14 inches

Watercolor, ink and pencil on paper, 26 x 40 inches

Watercolor, ink and pencil on paper, 30 x 22 inches

Watercolor, ink and pencil on paper, 30 x 22 inches

Acrylic and ink on paper, 14 x 14 inches

Acrylic, ink and pencil on paper

Acrylic and ink on paper mounted on board, 30 x 30 inches

12 x 12-inch watercolor and ink work on paper. A colorful, bright, abstract vision of the hopefulness that accompanies Spring.

A private residence for a family of four in suburban Baltimore, Maryland. A Shingle Style inspired  design  featuring a u-shaped plan around an organizing court/garden. The house includes four bedrooms, three and half baths, family room, library, living room, dining room, kitchen, two-car garage and screened porch. The clients had requested a degree of privacy but also accessible relationship between the indoor spaces and the garden areas. It sits on a three-acre lot which gently curves on the public side determined by the shape of the existing street. The community is a quiet collection of custom-built single-family homes varying in styles but unified by their shared attention to manicured lawns and gardens.

A weekend and summer home on the Magothy River, in Arnold Maryland. Additions and remodeling transformed  an existing cape cod bungalow into a set of spaces that addressed the views of the river and the active social life of the family and its many friends throughout the summer months.

A two-bedroom weekend and vacation home for two university professors. Views and access to the lake were primary concerns. The site was gently sloping and south facing on Lake Martin near Auburn, Alabama. 

House for a family of three with an extensive collection of American primitive/outsider art focused largely on the work of Alabama artists including Mose T.

These five pastel and ink drawings depicting visionary designs for the academy bridge site in Venice, Italy, were our response to one of the many projects offered by the Venice biennale Architecture Section the year Aldo Rossi was the Director of the Architecture Department. Chris Cowansage, my friend and collaborator at the time, and I chose this particular project to work on because of the modesty of its scale but also because of the opportunity to explore the role of metaphor in design, a concern we shared in our work as architects.  

We let our memory of Venice and our response to historical and contextual material excite our imaginations concerning Academia Bridge. Because Venice is a city where there exist a plurality of bridges, we felt at liberty to venture yet one more interpretation of the idea of the bridge. The great variety of bridge designs in Venice, moreover, gave us inspiration. In contrast to this multitude of Venetian bridges, there are few that span the Grand Canal, the focal artery of the city. We chose to celebrate the sense of crossing in a city designed to be understood metaphorically as, theater, tower, boat, aqueduct, ruin, and finally museum. Our conceptions of the bridge attempted to succeed where the existing one failed; to create a direct correspondence between the dignity and majesty of the city and the concept of crossing as a glorious event.

Chris and I were separated by great distance at the time, he is Philadelphia and myself in Auburn, Alabama. This was a time before cell phones and the internet, so we communicated by land-line phone calls and various mail and delivery services. Sketches and drawings were sent back and forth. Critiques were shared by phone, and several trips were made to allow for for in-person collaboration including a final weeklong meeting in Philadelphia where together we assembled our finished submission to the competition. The lion's share of my contribution to the project were these five pastel works celebrating the conceptual framework of our approach to the bridge.   

Design for a triumphal arch to grace the entry of an historic neighborhood in Baltimore.

Suburban synagogue and school project on existing residential site in Lawrenceville, New Jersey. the concept included an expandable sanctuary space to accommodate the changing size of the congregation in relationship to various holiday celebrations and a large courtyard to act as a unifying outdoor room for the benefit of both the sanctuary and the school.

A renovation and reuse project of a 19th century industrial building including interior design for two primary tenants.  Drawings and model show the proposals for integrating the needs of modern clients with the environment offered by a century old structure, while maintaining a deep appreciation for the spirit of the original building character. This was one of several projects completed while working with the Studio Design Group, an architecture and planning firm in Princeton, New Jersey, from 1989-1990.

The Steedman Competition is a design challenge for young architects. The year i participated the project was a museum dedicated to archeological discoveries and intended to be largely an outdoor experience. The museum is designed to recall the grandeur of a Roman palace in ruin. The garden elements echo the shapes of rooms that have long ceased to exist. The walls, towers and roofs partially enclose spaces where extraordinary artifacts are to be found. And the landscape is a constant witness to what has been lost and what has been preserved. 

Various drawings of famous and architecturally inspiring sites in multiple mediums. Approximate sizes 8 x 10 inches on average. Works completed between 1983 and 2005. Collection of the artist