For me, as a narrative painter, the issue has always been content. The issue wasn’t glass, the material that I chose some 37 years ago. Nor was it the painting technique—grisaille or gray-tonal painting—that I taught myself to use. My work—which spans several decades and a variety of scales from the intimate to the monumental—has always been driven by content.
Early in my career I was drawn to the images, symbols and painting of the medieval period—but not just the Christian tradition of Western Europe. I loved the content of Hindu, Pagan, Judaic, Buddhist and Islamic painting as well.
These were images created before the invention of “art” as we know it—before painters controlled the content of their work. These were works decreed by religious and political authorities to depict the magnificence and beauty of the natural and divine order.
What I loved was the naive naturalism and devout simplicity of that period—like the folk art of any period.