1. We know that you are an architect as well as your identity as an artist. What are the similarities and differences between these two disciplines?

Fine art is about personal expression. The rules of the artist are self-imposed. This is not the case with architecture. There are moments of intense creativity in architecture and there are opportunities for self-expression but they are few and far between. Clients, budgets, and municipalities all weigh heavily on the process and much of the architect’s time is spent on things other than creating. I think it’s inevitable that I bring my sensibility as an architect to my paintings.

2. What drew you from architecture to art?

I felt a strong need to express myself visually in a way that could not happen in the practice of architecture. I found myself painting more and more to the point where I chose art as my main focus.

3. Your artwork demonstrates a unique style. Could you describe your artistic influences and how they have shaped your creative expression?

Improvisational jazz is probably the biggest influence on my creative expression. The non-duality of this music is something that I love. Music that is both structured and free, harmonic and dissonant, beautiful and challenging. This is a big inspiration in my process of making.

4. Many artists draw inspiration from personal experiences. Are there any specific life events or moments that have had a significant impact on your art?

My first year of architecture school, my studio professor Norm Krecke used The Philadelphia Museum of Art as our classroom/laboratory. I spent countless hours that year and fell in love with the work of Anselm Kiefer, Japer Johns, Rauschenberg, Frank Stella and many others. I felt compelled to paint and that’s when I started a serious practice of painting.

5. Your choice of medium often plays a crucial role in the interpretation of your work. What draws you to your chosen medium, and how do you navigate its possibilities and limitations?

I love working with oil paint. The materiality of the paint, the intensity of the pigment, the fact that it does not dry quickly. It’s a challenging, but in my mind, superior medium. I also love watercolor and Sumi ink. The interplay of piment and water make for a highwire act that is exciting in its uncertainty and requires a very intuitive attack.

6. Your artwork often explores themes or concepts. What are some recurring themes in your art, and why are they important to you?

In my earlier work, I employed iconic architectural types such as bridges, totems, and towers. More recently my abstract painting seems to always have an implied horizon line with suggested architectural landscape. It seems that even in my most abstract work, the ghost of architecture is present.

7. Audience interpretation can vary widely. How do you hope viewers will engage with and interpret your artwork?

People often ask me to tell them how I interpret my own work. I always refuse because to me it is critical that someone have their own personal relationship with a piece that invariable changes and develops over time.

8. Many artists have a specific routine or ritual they follow when creating art. What does your creative process typically look like, and how do you approach starting a new piece?

I always start a canvas by painting is solid cobalt blue that I allow to dry completely before adding anything. I love the color cobalt blue, just to stare into its depth. It a great base color to use compositionally and it’s a sort of meditation at the beginning of the process.

9. Artistic growth and development are ongoing processes. How do you challenge yourself to continue evolving as an artist, and what goals do you have for your artistic practice in the future?

I love to paint in a series with a common thread that keeps getting pushed. I keep evolving the series until I realize a new series has begun. For me it’s about systematically developing my work from one piece to the next. That is a mountain without a peak.

10. Among your oil painting and watercolor techniques. What is the selection process between the two techniques? When we think about your creative process, when do you decide on the technical side?

My oil paints are generally larger in scale and I work on them over a longer period of time. The watercolors are generally smaller and happen very fast. It’s nice to bounce between the two.

11. The art world is constantly evolving, with new trends and technologies emerging. How do you stay informed and engaged with contemporary art movements, and do they influence your work in any way?

I’m represented by Jim Kempner Fine Art in NYC and the Tilsitt Gallery in Porto Portugal. The other artist hanging in the gallery influence me as well as the work in surrounding galleries. Is with most artists, I spend a lot of time in museums. I try be true to myself in my work drawing inspiration rather that reference from other artists.

12. Your artwork often features symbolism or metaphorical elements. Could you share some insights into the meanings behind certain symbols or motifs in your art, and how they contribute to the overall narrative of your work?

I don’t really thing in terms of symbols or motifs with my work. I want the work to be performative in its expression rather than literate.

13. We can argue that digitalization changes human behavior. So, do you think digitalization will change art and the perspective on art in the future?

It has and will continue to have profound effects on all aspects of culture. The access to information is staggering and changes everything. I don’t have any interst is the digital medium because it lacks scale and materiality.

14. What are three countries you want to visit or are curious about?

Certainly Turkey, also Japan, and many African countries. All for food, music, architecture and art.

15. Triple question: when we eliminate the concept of time, which artist would you like to draw your portrait, how many days can you stay away from technology (smartphone, television, computer, etc.), your favorite flower?

Lucian Freud

Zero days

Wild Flowers