Gallery 1 Most of my paintings begin with a monochromatic underpainting on primed linen or very smoothly gessoed panels. I fill in the entire canvas with basic colors in diluted paint at first, keeping colors fairly transparent. Allowing each layer to dry takes time, so I work on many paintings at once, in order to always have one dry surface to work on. My preferred medium is stand oil, which dries fairly quickly. I try to allow for an element of surprise at some point in the painting, even though most elements are thought out in advance. I have used gold leaf in some of the paintings, as well as other textured effects. Gallery 2 More paintings experimenting with textures, and creating a trompel'oeil effect with the figures suspended against a backdrop. The effect of folded paper or cloth enhances the volumes of the figure. Background colors are muted. I try to keep the faces soft, and vary the edges, so they appear soft in contrast to the sometimes rugged surfaces that surround them. The effect of old leather surrounds the figure in "From the Book" The ornaments add a sense of mystery. A gold filigree "halo" surrounds the head, and intertwines with the braided hairstyle. Gallery 3 Work in progress. This gallery contains paintings at various stages of completion. I have added texture and patterns, which will be painted over in successive glazing, and overpainting. The mysterious women can be humorous or intriguing. Gallery 4 Most of my paintings begin with a monochromatic underpainting on primed linen or very smoothly gessoed panels. I fill in the entire canvas with basic colors in diluted paint at first, keeping colors fairly transparent. Allowing each layer to dry takes time, so I work on many paintings at once, in order to always have one dry surface to work on. My preferred medium is stand oil, which dries fairly quickly. I try to allow for an element of surprise at some point in the painting, even though most elements are thought out in advance.