- content:

# ...the past into the future, right now:
that is what continues.

- To view samples of my work...

      Select a title from the listing below and an image is presented.
      More samples are available via the Internet, or CDROM: please
      send me email to request access to a larger selection of my work,
      or works you may seek specifically.

  KEY: title, medium (dimension[CM])

1. celebrated common, watercolor on paper (32.5 x 23)
2. taught unaware, watercolor on paper (15.5 x 14.5)
3. lies not placed, watercolor on paper (22.5 x 24.5)
4. whoa go, watercolor on paper (19.5 x 28)
5. facia, watercolor on paper (29 x 21.5)
6. walls wander over, watercolor on paper (21.5 x 27.5)
7. probable arrival, watercolor on paper (27.5 x 38.5)
8. pressed up, watercolor on paper (21 x 38)
9. hip hither height, watercolor on paper (28.5 x 38.5)
10. winnow, watercolor on paper (29.5 x 25.5)
11. falls faintly backwards, watercolor on paper (29 x 22.5)
12. forgets badly, watercolor on paper (26 x 15.5)

- To learn a bit of the why & what I do...

-     "Why do you make so many pictures?",  Olivia asks.

      "Learning to see, all over again.", I reply.

      "But," she insists, "your eyes are open... why the picture?"

      I listen closely, her intonation; then, "The eyes are tools,
      just like this brush, that paint and your question.  A
      picture is not an answer, nor completely resolving of any thing
      or idea.  A picture is not a question either, although it may
      'ask' of the view--"

      "So, what is it, and why make them?",  tracking, but she skips
      ahead of me.

      "Each one is a favor, both offered and requested.  Each of these
      favors is an object of participation, however brief, however
      enduring, where--yes, it is a place--a person might join a
      conversation like this one.  The subjects are many, and as with
      all dialogues, of things we share and are engaged."

      "What?!", Olivia pursues, "You mean a picture, your pictures, are
      like some sort of coffee shop?  And I can just visit them and,
      what, have a chat?"

      "Something like that... dialogues between us, through them.
      We've a lot to discuss, so I keep making pictures.  Those derived
      from photography are not like those I've drawn, painted or printed
      because the tools and media are not alike;  however, my practice
      using all of these means is similar because, of the tools I use,
      my eyes are reading what my hands render,  and with all due
      respect for the medium."

- ...take two...

-     I can define a location, or a pencil.  I cannot define what I see.
      I could not do this,  ever.  I can only define what I want
      you to see, with an image.  What that is has variation. Yet, I do
      not have a choice. Not one, but so many, in fact, I am buoyed
      among them. As I make a picture,  whatever, even writing this...
      the excluded and omitted, by implication, are a big deal,
      supporting the subject,  like "coffee".

      So,  my work is about choice and that I do not have one. Thus,
      reminded of the Laws of Thermodynamics... the First and Second,
      specifically; that is,  I cannot truly create, nor destroy any
      thing, but merely alter forms to define (over and over again) that
      purity is complex, but not confused.

      Each picture is a favor to ask, and an offering of what we may
      commonly agree as "just so".  My works define a position, of
      decisions made and a course of actions taken.  But most of all,
      my work is a fiction, depicting no real place, persons, nor object,
      as music is a kind of rendering, "just so".

      Many years ago I practiced more art work. A few pieces were
      exhibited. Then I changed media,  and practice, to information
      technologies and computers. While I continued to paint and
      photograph, I worked more with bits and code,  later teaching
      others about bits and code. Fascinating work,  reaching a not
      dissimilar "just so", especially working with students and the
      less-well-defined-than-conventionally-perceived relationship
      of Data Set and Computer Program.

      Now not as much returning, but from here reflecting and
      representing that which continues,  variously known "just so".
      I still program computers,  but more as a means for
      "picture making".

      Please email me for needed detail,
      or where I may blur,  may burnish.

      kind regards,

      David

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