For as long as I can remember I have been drawing. Sitting with me at the kitchen table in a three room tenement in the Bronx, my father would draw Trotsky's for his little boy’s amusement and amazement— a simple outline profile of a beak-nosed face wearing a peaked military cap. I didn’t know who this Trotsky was and I was too young to care, but I liked trying to draw this profile. I learned. My father also showed me how to draw a horse. He had a horse and wagon stabled near by. He used the horse and wagon to deliver bread and rolls to his customers who lived in apartment buildings in the Bronx. Years later I would help him delivering the bags of bread and rolls. I learned to draw a horse.
In elementary school I won a John Wanamaker medal for excellence in drawing and then a Certificate of Merit for art work (posters) from the New York City Department of Parks.
In Junior High, instead of following the curriculum for 7th and 8th grade Art, my teacher allowed me to spend the two years on my own project - a twelve foot mural painted in oil on board across the back wall of the Art room. She bought me the paints and brushes and other supplies I needed to do my mural. She even allowed me to get a mahl stick which I thought every artist should have, Several years later she bought a small painting of mine. I still use the mahl stick.
Art was my major in high school. A few months before graduation I submitted a landscape (painted in my studio —the kitchen floor of our three room apartment) to the Art Student’s League of New York. I won a scholarship.
Entering C.C.N.Y. at 16+, again majoring in art, my first two years were a disaster (except for my art studies). When I returned three years later, after vacationing with Uncle Sam, I continued my studies and graduated Cum Laude.
In 1950 I completed the Master of Art degree at Columbia University. While there, I had my first solo show at the Amsterdam Avenue Art Gallery near the campus, exhibiting abstracts, non-objectives and phantasmagoric microcosms-compositions based on various flora and fauna placed within a stylized phantasy landscape.
I started teaching in l950 (Junior and Senior High School Art in New York City). I also taught drawing, painting, ceramics, sculpture and jewelry enameling in the Adult Education evening program of N.Y.C. Six years later I moved to Long Island, taught art for two years alnd then I was appointed Junior High School Principal. In l964 I took I a two year leave of absence to become principal of the Taipei American School in Taiwan. A wonderful experience for the family. In 1965 I had a one man show at the International Gallery in Taipei.
Returning to my position on Long Island, I continued my education at N.Y.U. and earned the Ph.D. degree in 1970. At Stony Brook University I was an assistant to the Professor, helping to teach a course in Latin American Art and Culture. In the summers of l979 and 1980 I was an adjunct Assoc. Professor at St. Johns University.
San Francisco Museum of Art l946 I and several other G.I.s were honored by the museum with a year long tour of our work. I exhibited a pencil drawing (12"x16") of an old peasant woman clutching a faded flower in her gnarled hand.
Amsterdam Avenue Gallery (NYC.) 1950 One man show
Great Northern Hotel (NYC.) 1952 Group show
Monticello Galleries (N .Y) 1953-55 One man and group shows
Smithtown Art Expo (N .Y.) l960 Two man show
International Gallery (Taipei, Taiwan) l965 One man show
Chapman University, (Orange, CA) Dec ‘06-Jan ’07 One man show
Gonzales Studios (Culver City, CA) 2009 & 2011 Group show
West Hollywood 25th Anniversary Celebration in Art — November 2010
LAAA (Los Angeles Art Association) Several group shows 2010, 2011
LA Municipal Art Gallery Group Show July-Sept 2011
My work is included in private and corporate collections in New York, Delaware, Florida, California and Taiwan.
I am also a member of Los Angeles Department of Cultural Affairs Slide Registry
Blessed are those who express the inexpressible through skill, inspiration
and an occasional happy accident..for they shall be called artists.
Over the years I have created "traditional" and "non-traditional" paintings -- portraits, figure compositions, romantic and stylized landscapes and "phantasmagoric microcosms" --imaginative constructs based on organic forms (e.g. the inner ear, cells, eyes, etc.).
More recently I have been working on a series of large paintings which can be labeled â€śfugitive visionsâ€ť -- fleeting, barely discernible forms (human, fauna or flora) evolving from and into vaporous hues, mysterious, haunting and hopeful. Although almost all of my work now is in oil I have also done lithography, pencil and charcoal drawings, wood engraving and wood cuts.
I have not tried consciously to create a â€śstyleâ€ť. I work as the mood strikes me. But whether the work is â€śtraditionalâ€ť, â€śnon-traditional, â€śmodernâ€ť or â€ścontemporaryâ€ť, my goal for all my work is to evoke in at least some of its audience the same wonder, anguish, hope, peace or mystery which informed its creator.
I believe an artistâ€™s work should â€śspeakâ€ť to you without the intercession of an intermediary. You look, you reflect, you feel or you donâ€™t feel, you like or you donâ€™t like, you get it or you donâ€™t. Itâ€™s your call.