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Ambient Art 1982-1990
 At NYU I moved from the narrative low relief cut wooden panels to paintings on paper, typically 30"x22" arches sheets and using commercial paint sprayers to propel acrylic paints mixed with textured materials such as diatomaceous earth to fine pigments projected through the more delicate air brush. The subject matter came extensively from my photographs  - as images dissected and projected. They become layers of reality as superimposition and mixed imagery replace the straight forward narratives of the earlier period. The Airbrush/projected photo technique made a lot of sense to me. I now could work directly from my  library of what was already to me, narrative  imagery. Rather than compiling devices, the photos typically manifested themselves more simply as individual concepts. Although one device continues to appear. That is the superimposition of multiple images in one subject. Typically deer or cows seem to fly in alternative space in front of female subjects. In this I  am  suggesting ambient images in real space and time as well as employing the device as a compositional tool and to alter or enhance the straight forward scenario provided by photography in and on its own. Most of the small work on paper was shown in a very successful show in early 1982 in the Washington Square Gallery in New York.

A short film of my Washington Square Gallery opening was made by the renowned documentarian Walter Phelan

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