All that a promise can hope to mend.

View up close in the gallery.

Sometimes the words come for a painting and they are just right. Here, I am thinking of the word 'promise' in the sense of what can be—what is possible—the mystery that remains, no matter what.

It is the possibility of learning new things, making new things, seeing new things that maintains momentum—in mind and body. And this is where the mending comes in.

These black lines feel powerful and here they are protecting the thing full of promise—the emerging spring—the life under the ice sending up bubbles in the forest creek—the possibility.

Blue herons, blue night...

Blue herons, blue night,
silhouettes on their way home,
the sun, already set.

View up close in the gallery.

Maybe more so than other forms of poetry, the haiku lets you be in the moment with the poet who wrote it. You are with Basho looking at the moon and feeling lonely, with Shiki seeing a trout in the river that is the color of the river, with Jack Kerouac at the sea contemplating nothingness… It is comforting—the shadows that fall, the birds that move with the seasons, the questions and longing that persist for centuries. 

In small living things...

In small living things
weight is carried like air,
in sky and water.

View up close in the gallery.

It is March—finally nearing spring—though it still feels like the middle of winter in Michigan with snow, ice, and bitter winds most every day lately. One day this past week though I had a mourning dove just outside my window at dusk making his call. It was so loud it startled me—I heard him before I saw him. He kept at it for a few minutes, eyeing me as I peeked through the blinds. The next morning he was out there again (or, had been out there all night sleeping), balanced on a rail. This time at least the rising sun was just starting to shine on him. His soft grayish brown body looked like velvet, his chest puffed out against the cold. Watching me again as I peeked out at him he made a small step sideways.

I’ve read about mourning doves and know they can fly incredibly fast and straight, but that morning he was still and silent as the sun rose, his instincts telling him things will change soon. My thought was to write a poem for him: the tiny bones of his ribcage that create the space for air to pass through as he practices his call to find the mate that hasn’t arrived yet and has no awareness that he is on this balcony, calling to the setting sun.

To me, every small living thing represents this kind of mystery and majesty. A whole complex life that we can observe and document but really only guess as to what it feels like to live it.

Photos taken from inside the Matthaei Botanical Gardens. My exhibit there continues until March 24, 2019.

All-sky map maker.

A seemingly impossible task…

This painting came together over a few weeks. It started with the black line, kind of an automatic painting just for the sake of a putting down a nice line to see where it goes. Then I set it aside for a while. Next came that deep ultramarine in the center with a wash of lighter blue emanating from it. Again, I set it aside for a bit, not even sure which orientation felt right.

Then one day I laid the gold down in the same way—quickly and enjoying how the swirls fell together. It suddenly felt like an aerial view of a pond, land meeting water, caverns and canyons—and also suddenly a face. A surprise, but once I saw it, the orientation was decided. I set it aside again for a while longer, until a snowy Sunday and like a meditation I hand-dotted all of those specks with a white pen, then the light blue wash, then the white pen carving out that blue, then black pen finishing off the outer waves—like lapping water, or atmosphere, or sound. All of the sudden it was an otherworldly figure made out of an otherworld.

The name came to me thinking of a beautiful thin hardcover book I bought in the fall at the library used book sale for 50 cents: The Cambridge Star Atlas, by Wil Tirion. It has a table of contents that is deceptively simple: The Moon, The Monthly Sky Maps, The Star Charts, and The All-Sky Maps. Pages of bright blue maps of the stars, shown as dots, connected by lines forming constellations. Keys that identify single and double stars, open clusters, globular clusters, planetary nebulae, galaxies.. Like poetry.

I loved that someone mapped all of this and put it in this book…and that person is the All-Sky Map Maker.

View up close in the gallery.

The belief.

When I was younger
I had the belief
that there would be 
one who I will love
and one who 
I know loves me—
almost that love 
is a fixed place.

And yes, there can be walks in 
the April woods that
feel full of infinity—every leaf a universe
and the thawing stream a bounty. 

The unspoken amazement at 
a crush of trout lilies,
pushing their way up through
last year’s leaves.

The imagining of this path
as seen from above—
two people on their way through 
the woods, as if it’s the cosmos.

With atoms visible and all 
ideas entertained—the sheerness
of it all—so immediate 
and available. 

But this love between you two
is not a place. It floats
just above as you pass by
the maidenhair fern.

Growing, living, and dying, 
in spite of 
the belief.

View up close in the gallery.

The fresh blue meandering shape of this painting with its complications of winding lines and dashes made it a good match for the walk that this poem takes. I wrote it last spring thinking of the literal feeling of taking my favorite forest walk—but the writing of the poem brought out a deeper, more metaphysical and personal meaning. I saw that curved perimeter of the painting and knew that poem would complete it.

Looking at it today, it reminds me of the photographer Duane Michals’ photograph called ‘This Photograph is My Proof’, which shows a couple sitting on the edge of a bed, a man in a suit, smiling, the woman giving him a warm embrace with her head resting on his back, also looking at the camera smiling. The title and words that follow it are handwritten: “There was that afternoon, when things were still good between us, and she embraced me, and we were so happy. It did happen, she did love me. Look see for yourself!”

The image and words work together perfectly to reveal the ambiguity and mystery of memory, love, and life itself. How is our experience of the world—of the people in our lives—defined? Is it only our perception? Can an image be ‘proof’? It is frozen in time, and does that truth last beyond that moment? Aren’t images and words and the combination of them constructions that exist somewhere on their own, outside of time?

To me, this is the work of words and images—constantly asking questions about what it means to be human, what it means to love others, and the world itself.

Underneath the bloom...

Underneath the bloom,
me and my melancholy
are separated.

View up close in the gallery.

This is one of a number of my paintings that use this strong black line to express an organic form. I learned to do calligraphy when I was very young and have always been drawn to this type of line. There is a lot of poignancy and beauty to be found in how it changes in one stroke: thick to thin, loud to quiet, bold to just a wisp.

I see these kinds of lines everywhere in nature, too. The elegance of leafless, black-barked trees in winter, the intricate patterns of lichen that encrust those trees like jewels—even the crosshatch pattern of the fur on my black and white dog's chest, growing in a swirl as he steps into the frame as I try to photograph that lichen...

The painter Ben Shahn created lines that were distinctly his own and I have admired them for as long as I can remember. He said, "How do you paint yellow wheat against a yellow sky? You paint it jet black."

Lady in the moon...

Lady in the moon
rises above the treeline
like a loose, round pearl.

View up close in the gallery.

A lot of my paintings carry my haiku poems on them.

I like the economy and revelation of them. About ten years ago I challenged myself to write a haiku a day at the start of the new year. After a year of doing it, I found it hard to stop. I've kept it up pretty consistently since then and now have hundreds of them.

I'll pull from old ones for a new painting, or sometimes a new painting requires a new haiku. In this case, it was a haiku written last year that got a new life as part of this painting. As the painting got going, I could see that moon from the haiku hanging up there and the idea was complete.

Our endless lives.

Wild things grow in
the woods that we walk.

Bracket fungi, like wooden
rainbows, protrude
with stiff ruffled blooms
out of fallen trees
now disintegrating every day—
turning red from decay.

Once the home of songbirds and
their nests filled with babies;
and insects, and leaping squirrels,
and knocking woodpeckers.
Once the tall lookout
of the horned owls who live here.
Once with leaves that made a sound
like music before a spring storm.
Once with bark that was fresh
grey, or brown, and patterned in
some way that distinguished
it as a particular kind of tree.
Once sending out seedpods
or sap or a leaf in the shape of a hand.
Once with branches that looked
like fine black lines in winter,
stretching out towards the
ether blue of the sky.

Some still have
knots that feel like
eyes that watch us as we
walk and foolishly think
of our endless lives.

View up close in the gallery.

Deep into the night...

Deep into the night,
orbits and ideas spin,
ending with a yes.

View up close in the gallery.


The gesture of this painting is declarative and sincere. It’s why the title ends with the word ‘yes’. It was made on new year’s day, which was cloudy and cold but I was thinking about the year ahead of making things. Today it reminds me of the writer E.B. White. I imagine him reserved and thoughtful. There is a photo of him sitting at a typewriter in his weathered wood writing shack in Maine with a screenless window framing a view of the water.

He said, ”All that I hope to say in books, all that I ever hope to say, is that I love the world." I believe we need as many people as possible who think this way, who would say this, and who would make things in the service of this idea. I don’t see it as positivity for positivity’s sake, it is a hard belief to hold on to, but more powerful than anything when it is wholeheartedly felt.

Taking in May light...

Taking in May light,
trees raining flower blossoms,
flowers blossoming.

View up close in the gallery.


This painting was obviously named with a haiku written for the beauty of the magnolias and apple blossom trees that bloom in a sudden burst in early spring here in Michigan. It’s nice to think of them now in the deep of winter.

The painting is also one in a series of ‘bloom’ paintings that I have done (and like to do): The mind bloom, The companion, The dandelion… I use the black calligraphic lines to signify growth, movement, and blooms of all kinds: ideas, flowerheads, lichen, an expression, a growing understanding that leads to some kind of revelation. To me, they are thriving and mysterious things that feel organic and automatic and lay on the paper just right with a presence all their own.

At the conservatory.

New snow fills the field.
The warm observatory,
full of mystery.

Full of mystery,
a life lived underwater,
koi like orange silk.

Koi like orange silk,
float like the dark Milky Way,
a soft universe.

A soft universe,
like a calm yet wild creature,
new snow fills the field.

The conservatory is a transformative place. Cold winter days are the perfect time to visit and get rejuvenated…and while you’re there, take a look at my exhibit of 40 paintings, The Mind Bloom.

University of Michigan Matthaei Botanical Gardens

The fish.

On display in The Mind Bloom exhibit at the Matthaei Botanical Gardens.

View up close in the gallery.

He circles and sees...

He circles and sees,
the hawk in January,
his eye always knows.

View up close in the gallery.

This painting is one of the first in a new series that I started on New Year's Eve, 2018. There is something about the combination of these strong brushstrokes and gold gouache paint lines that feels alive to me. They also have a totemic or emblematic quality to them—as if they stand for something seemingly simple yet remain completely mysterious.

The Mind Bloom exhibit.

I've been asked to exhibit 40 paintings at the University of Michigan Matthaei Botanical Gardens in Ann Arbor, MI. Titled, "The Mind Bloom," this exhibit runs from January 12 - March 24, 2019.

Exhibit Poster

The UM Matthaei Botanical Gardens has been one of my favorite places to visit for as long as I can remember. It represents thriving life and possibility. I am thankful to have this exhibit of my work in a place that is so meaningful to me.

The paintings in this exhibit were made over the past couple of years. I worked on them just about every day, in the morning or at night. Over time, the confluence of ideas that the paintings and words represented became familiar and connected. Themes and interests repeated and were deepened through my daily exploration.


Titling the exhibit, “The Mind Bloom”, after a specific painting in the collection, seemed like the perfect expression of this work. Always inspired by nature, and combined with thought, memory, poetry, feeling—truly a bloom that is full of vigor and charged with all of the possibility of being alive every day.

University of Michigan
Matthaei Botanical Gardens
1800 N. Dixboro Rd.
Ann Arbor, MI 48105

The Mind Bloom Exhibit
January 12 – March 24, 2019
Daily 10 am - 4:30 pm
Wednesdays until 8 pm
Free admission

Forward moving.

Thank you for visiting! This is the beginning of this blog and my website—and I couldn’t be more excited.

My painting and writing start with my experience of the natural world and then leads inward and outward at the same time. The daily reading of the sky, the leaves on the trees, the behavior of birds, the lichen on a log, the flowers in bloom, the current of the river, the position of the planets, moon, and stars are the things that make me feel alive.

When I first learned about poets and poetry it was like finding out about a great secret. Poetry was confiding and beautiful and dangerous and scary. These people were experiencing the world, the people in their lives, memory, history, pain of all kinds—and love. They were giving it all the attention that it deserved. They were sharing it. It was messy and majestic. Art and artists were the same to me. A teacher of mine once called them ‘rescuers’, they could be depended upon to have already gone out ahead to find a safe spot. They were devoted to telling the truth—compelled to—even in the darkest moments of their lives.

I learned that the art of creating something made the indecipherable things in life beautiful. What it means to be human—a part of everything, but still alone. Seeing things as they are, yet still hopeful.