Artist Statement – 2024 Sometimes, in the quiet hours after a long
for the perfect delivery, even while connected to an oxygen machine. Life is precious. Yet travel carried me forward: new places, new light, and countless frenetic drawings cap- tured live from music—jazz pulsing through the pen, energy translated to ink in real time. None of this would have been possible with- out the unwavering support of my family—my wife Diane, my children, and especially my mom Dorothy, who turned 99 this year and remains a quiet force of inspiration. They give me the space, the encouragement, and the love to turn dreams into something real. This project will soon be in the rear-view mir- ror, joining the rest of my work documented in this ongoing series of books—a Catalogue Raisonné that captures every piece I've ever made. What a statement. I don't know any other artist who has done this. May it all be dedicated to those who have passed, and may we all pay ourselves forward to the next generation. This is Chromatic Fusionism in motion: digital precision fused with the soul of pattern, histo- ry, and lived experience. A new art movement that combines the industriousness of the Bau- haus with digital art—a concept that bites like a Gator here in Gator Country near UF, defin - ing us in a time where art history and the fu- ture through technological innovation merge. Limited editions, always—fine art that re - wards patience and close looking. “Wear the Art / Be the Movement™” is the invitation: to carry these short-run piec- es into the world, transforming the everyday with intention and wonder. 2024 taught me that dreams don't just ar- rive—they build, layer by layer, if you keep showing up.
day in the studio, I think about how dreams can feel distant— like fragile things you carry for years without knowing if they'll ever take flight. One of my life dreams was mod-
est, almost private: to see just one of my piec- es hang in a museum. One painting, one silk, something that said all the daily making—the endless sketches, the technological mastery that comes from trial and error, the patterns teased from history—mattered beyond my own walls. In 2024, that dream began to grow roots. The year became one of intense preparation for what would be my largest show yet at the Mu- seum of Arts and Sciences (MOAS), opening in March 2025. I created at least 40–50 new monumental works—short-run duplex-printed silks on premium twill, each a vector-built ex- ploration of symmetry, ancient textiles revived and refined, and that quiet pursuit of beauty for its own sake. I hired a 3D modeler to help visualize the installation; we iterated end- lessly—dreaming of silk forests, adjusting for reality—until the design felt right. Unlike my other projects, this one was done under the auspices of a committee. They controlled the space, and I had to earn every inch. My plan was to overwhelm them with luxurious beauty. Silk sells itself. My methods of working with it push the very edge of what is possible—sharp lines, precision color control, always with one eye on art history. "Move over, world" could have been my motto. Amid the making, life pressed in. I lost three friends, two especially close—Albert Angel and Jim Boring—whose wisdom and encour- agement left deep absences, along with Edwin Forrest Ward, a giant of a writer with a knack
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