I spent most of my life teaching at a community college in a 2-person department. The work load there is less generous than at a university and, given that I've had much to learn, progress has been slow. I take comfort in Hokusai's quote: "from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive."

I love to work from direct observation. The way light moves around form is something I find fundamentally mysterious. Color has been a life-long pursuit.
I use photo references for landscapes. Because it is already abstract, it lends itself to manipulation and lately I've been having fun with that.
The discipline of figure drawing is something I find beneficial, though I don't use the human figure in my work. Occasionally, I will do a portrait for a friend.

Most images address levels and structures of consciousness and/or the environment and the feminine principle.