In 2002 I had a conversation with New Orleans Contemporary Visual Arts Director David Rubin, who had been doing freeform ink work himself, which caught my attention, but raised no intent to create such work.

An a meeting of a philanthropic organization, I started spontaneously drawing figures reminding me of rough zoomorphs that the members of the committee felt as remarkable.

At SIGGRAPH 2002, I found inexpensive galsses that caused a stereoscopic effect with colors (yellow to front, blue to back) that intrigued me, and the obvious fit to this were gel pens which had very bright colors. The process began on black paper, but the technique required a white underdrawing to get the colors to work well. I then returned to the French sketch pad and the texture of the paper, combined with the fluorescent colors were incredible. I used these ass a way to do something analog, and the whole series (including the small works) is over 12 at this time. In short, these works have no reason except a creative impulse.

Phytomorph1 was the shift from black paper to watercolor blocks.

Southwestern was a response to the pale, brightly colored fluorescent colors in it phytomorph and the subsequent two pieces. My wife looked at them and mentioned she'd like to see somethign a little bolder.