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Painting Classes

I have been teaching on and off since 1970. I like to think that I'e been learning from my students during that time as well.

I am adjunct faculty at the Boston Architectural College where I teach freehand and perspective drawing. I also offer classes in my studio and on location in the form of workshops and/or continuing sessions.


"...his teaching skills are remarkable, as he has a rare ability to get the very best out of his students."

Luciana Frigerio, Asistent Director AVA Gallery and Art Center 1992

"...he achieved a high degree of rapport with the students...communicating with them... in a most effective manner"

William Taylor, Director Arts- Six a Title III program 1970





my whiteboard at the BAC






Basic Drawing

Figure Drawing




Continuing Ed





my studio at home



In Basic Drawing I use still life, landscape, and portraiture as avenues to explore fundamentals: line, shape, value, texture, and the coordination of all of those into composition. I stress that with purpose and understanding one can compose even with minimal skills and that composition and expression are what drawing is really about. Skil should always be in the role of support.

In fact, it is easy to spot drawings where knowlege and skil have overwhelmed the natural and spontaneous expression that might have come through if the artist had only known when to quit.

That said, however, I often find it necessary to goad students to take a second look, to re-work, and to see in an active questioning way. I stress process and that often means starting over.

I love art history, so I often include slide shows to indroduce a concept and include sorks of art from the paleolithic to the post modern.




ink and watercolor            ink and pastel


Figure Drawing is a major component of my classes at the BAC, and I really feel that they should expand it to a full semester.

Why? Because nothing trains you to see like a series of rapidly changing figure poses. Figure drawing for artists is like muscle building for atheletes.

With the figure I stress three things: Gesture, Shape, and Tonal Value. Of course there is more, but these are the the best lead-ins to composition. Detailed knowlege of anatomy is not essential but I do discuss it when appropriate. I never encourage anyone to seek perfection, rather...integration, balance, totality.

For longer poses I stress selective focus because there is always a limited amount of time. One has to choose. Choosing is a major part of composing.



pen and ink

















References (PDFs)












AVA Gllery and Art Center

The Hood Museum

Arts Six







I continue adding skills and taking courses as I go. Stone carving is a new departure for me that I was inspired to take up by one of my students. I have recently added new welding equipment, an anvil, and a forge to my workshop.

I was greatly inpired by a design principles course I took with Ariel Brain at the BAC...and grateful for the chance to write a long paper on the subject of anomaly which I have posted here.


anomaly and aesthetics