April 1978, Oil, 24 x 30

With the exception of a few minor projects in elementary school, this was my first oil painting and painting on canvas. I was 22 years old. It was a monochrome painting mostly because I was afraid of trying colors. It was a practice painting, and it turned out well enough to keep me going. Had it been a bad experience, perhaps I would never have painted again. This painting likely still exists at the house of the parents of an old girlfriend in Dunkirk, NY.

January 1979, Oil, 24 x 30

This was done from a photograph during my monochrome period (more appropriately during the period when I didn't know how to use color yet). The original painting is vibrant golden colored. This photograph is washed out. When I took the picture there was a glare from the left side. People always liked this painting. It's with my Indianapolis friends, and has been with them for many years. They tell me it has gained a 'deeper significance' for them.

June 1979, Oil, 36 x 36

Henry Miller was my favorite author during my younger years. I liked to memorialize people that had an impact on my life.

August 1979, Oil, 36 x 36

While we're talking about idols, Beethoven was always my favorite musician. This was done off an album cover. I have done several other Beethoven paintings during 1978 and 1979, but this was the final and best one. Some of them survive. I don't know about this one, though.

The third movement of Beethoven's 9^th Symphony,  the adagio molto e cantabile, is my all time favorite sound in the world. This will play when my remains are put to rest. No other music will be necessary. Not that I am morbid. There is nothing more beautiful in the world than that 17 minutes of music.

This painting was to honor the composer.

October 1979, Oil, 36 x 48

I painted this from a live model in a figure painting class at Arizona State University. The model was obese, and I was not sure how to paint a pleasing picture from a naked, flabby, jiggling and pasty body. I think I did quite well, considering, and I actually liked the outcome. She also had recently had a baby, and she was posing nude with the baby. Other participants in the class tried the mother of child nursing pose, but it was too daring and complex to me. This one was fine.

October 1979, Oil, 36 x 48

A class project from a live model. I set up a challenging environment, with a chrome armrest and a complex pose. What do you do with a large picture like this of a naked woman? I don't know if this painting still exists somewhere.

October 1979, Oil, 36 x 48

Another class project. I learned a lot from doing this painting.

October 1979, Oil, 28 x 36

My first male live model. After I brought it home people often nicknamed it "limp penis" but I don't know what else I should have done with the subject matter.

November 1979, Oil, 30 x 40

Another class project from a live model. The colors were vibrant. This old photograph is washed out and does not do it justice. The mood was similar to the feeling of an old 50ies spy movie. My friends therefore gave the painting its name.

November 1979, Oil, 28 x 36

When this model took off her robe, and the lights reflected off her golden skin, I was in love with the scene. I wanted to capture the light as it bounced off her body. It was like she was radiating from inside, illuminated like a lava lamp. We had only about two hours, so I did the whole painting in one feverish session. I could not imagine leaving this unfinished. She was an exciting model.

November 1979, Oil, 24 x 48

Done from a live model. The model was not as unhappy as it turned out in the painting. But I couldn't get the face right.

December 1979, Oil, 36 x 48

This is one of my all time favorite and best paintings. It is inspired by the cover of a missionary magazine in 1975. I did several paintings from that photograph. This is the only one surviving.

It has spent considerable time with friends in Portville, NY. When there was no wall space it was relegated to their attic. I rescued it from the attic some years ago and it is now back in my house, in a prominent spot in the living room above the fireplace. I love it. It is one of my treasures.

Most people that see this painting call it the "Mexican boy." The features are androgynous enough for it to be seen as a boy. To me, it's always been a girl, and the title remains "Little Girl."