I had the good fortune to photograph one of the Pascal Calculators, a work of true genius and inspiration by Blaise Pascal, dating back to the mid 17th century. Yes, it was a bit nerve racking to examine, handle, and stage the object, being truly priceless, but exciting and fun, all at the same time. Two of my photos appear in the Museum Henri-Lecoq publication, "Les Machines Arithmetiques De Blaise Pascal." The book cover image appears at top.
I had reason to go through some old images, looking for some work related photo, and came across this painting that I had done some years ago. It's one those works that I can hardly remember doing. Strange really, and yet strangely appealing on account of its honesty. 
My old stomping grounds, at the foot of the Chelsea, Massachusetts side of the Mystic/Tobin Bridge. With sea breeze in the air, it was a quiet area, with the bustle of Boston, right, over, there.
My latest solo work, and I have never had to say that before, is shown above. This represents a new direction for me. I do enjoy having this work on my wall. A friend told me that every room should have something black in it. Yes, I think that could be true.
The paintings above represent the collaborative efforts of Dr. Ju and me, to date. Most of the pieces have yet to be signed, which should complete the works. It has been quite an adventure so far, and great fun. The overriding theme of these works is cross cultural exploration, and I feel we are just getting started.
I am close to the end of phase one for this work, "My Father Was In Shanghai, 1937." Exploring my father's time in war torn Shanghai in 1937, I am as excited about this piece as anything I have ever worked on. 
It is proving nearly impossible to capture a suitable photo of a painting in my studio these days. I don't have the room to set up the tungsten lights and compose a decent shot. That has stopped me from posting new work. I can't let that stop me any longer. Above is a detail of one of my earliest completed works in collaberation with Dr. Ju. The working title is "Codes of Destiny." This image is taken with available light, using my least capable camera.
There has been a whole lot of creative activity going on, weaving the intercultural pursuits of two artists, reaching into the corners and holding fast the result, if only for a moment.
Well, it's been quite a busy time lately, what with battling the elements, and work, but also, creatively, with a whole new set of paintings in the works. Notably, I have been working regularly with Dr. Ju, collaborating on a series of cross cultural explorations. More on that later. 
The lone Chinese street sweeper. She is all alone to do her work at the center of the intersection. 
An engaging Louise Nevelson piece. To me, this one seems to move. There is no mistaking her work. When you see a Louise Nevelson, you know it, this one displayed at MoMA.
Once you get away from creating a piece that is all oil paint, or all acrylic, creating a work that is stable with respect to archival concerns is, well, complicated.
How about a bright abstraction in yellow and red-orange to brighten our day? Works for me.
My coworker, John M., sketched on the beloved Magnadoodle, and now immortalized in the cyber world.
In this case, the crossroads of people's lives, past and present, for better or for worse.
The beautiful precursor to high winds, pelting rain, flooding, and marble sized hail.
Adjacent and now, volume of energy flows up, the return and response, that which reaches, touches, and is touched, in perfect repose.
Forethought of space and essence the terminal of what and then.
Well, I am painting again, with the usual mix of satisfaction and frustration. But what is to stop me from having some fun with photo illustrations between brushstrokes?
After one too many flood events in my home art studio (yes, basement level), I have combined my art studio with my design studio/office, located on higher ground. The last two days, I have started to paint again, and it feels great. It is a whole new environment in many ways. I feel renewed.
How this 1903 US penny escaped notice, and wasn't pulled from circulation, is beyond me. I received this in change about a year ago. Perhaps it could be on account of its condition, that is, not very good.
