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About the Artist  

Having grown up in rural Maine, I have always been fascinated with the interplay between the natural world and human intervention.  Whether it be an old dilapidated mansion across the street from my elementary school, an abandoned mill in a college town, or an archeological dig in my own back yard; I seldom leave a rock unturned. 

I received my M.F.A in Interdisciplinary Arts from Goddard College in 2006 and my B.A. in studio art from the University of Maine, Orono in 2000. My artistic practice has a strong foundation in drawing and painting, but it has evolved to include assemblage, mechanical sculpture, digital video, and also performance.  The combination of these different approaches and processes often results in the development of installations that are hybridized, or a compilation of different disciplines in conversation with one another. I also have a strong community-based practice and background in events organizing, volunteering, and arts administration. I was the progenitor of the Cirque du Poulet arts festival and have served on the Board of Directors for Waterfall Arts in mid-coast Maine.

This unique background is a great compliment to my role as an experienced graphic designer and educator. I am the former Art Director of Maine Authors Publishing of Thomaston, (See graphic design portfolio) and I teach courses at Maine Media Workshops + College of Rockport.  (See course offerings) In 2018 I founded Render, a design and publication company dedicated to meeting the needs of small business and nonprofits.

I live in midcoast Maine with my wife and two daughters.


As an artist born, raised, and mostly educated in Maine, it is very easy to see the influence of Maine’s culture, industry, and beauty in my work. I have an inclination to value what others have discarded or left behind, and regard history as a renewable resource that should be utilized in making decisions for the future.  Human relations with the environment often serve as a point of departure in my work, and abandoned spaces and post-industrial detritus are frequently central elements.  I use what is there to make a mess a masterpiece, and believe that there is that which we inherit, and that which we invent.  As much of what we inherit is a mess: (politically, economically and culturally,) it is up to us to make improvements and aim for the most desirable result.  This is the foundation upon which I base my actions in both art and life.

While I still consider myself more of a visual artist than a conceptual one, movements with which I strongly identify are those that are fairly irreverent of the individual artist and work towards the deconstruction of art.  The DaDa and Fluxist movements and the Happening scene are among them.  These efforts lend more weight to the processes and experiments themselves, than to tangible objects or products.  Similarly, I identify with the Art/Life inquiry and the questions it raises about our assumptions and pretensions in the arts.  I regard my greatest life-long pursuit as the endeavor to refine the art of living, a practice that can only be had by waking up each morning and engaging in the activities of everyday experience in a fully conscious and intentional way.

I see Art as being many different things for many different people.  I am an advocate for Pluralism and an environment in which many different methods, approaches, and ways of understanding Art are nurtured in coexistence.  I am not so much concerned with what Art is, per se, but rather the potential for dialogue surrounding it.  And I feel that it is through this dialogue that we can establish a pathway for empathy and mutual understanding, a pathway that has the potential to enrich the fabric of our everyday lives, and perhaps even lead toward a more desirable coexistence and deeper sense of humanity.