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What was your creative process like? What were your go-to tools in creating this series? My go-to in this series was mostly painting, then going back to silkscreening and doing some work digitally on an iPad or computer which I would then transfer to a more physical state like a silkscreen with oil paints. So there is definitely an amalgamation between the old and new mediums that I used. I have espe- cially been using squeegees a lot, in the same way that one would use squeegees to spread the ink over the silkscreen I would rework the canvas surfaces with squeegees, palette knives and anything that I could get my hands on. You've been recognized for your remark- able sculpture work—specifically for "MOR- PHOUS" a public installation in Union Square now on display here in New Jersey. Do you feel "Manipulated Image" is a sort of departure from some of your earlier works? I think that "Manipulated Image" is defi- nitely a departure from my earlier works, in particular with "MORPHOUS", the sculpture that was placed in Union Square. I had an ele- ment of this theme come across in this sculp- ture since the initial idea came from a digital image that I duplicated and then mirrored. So the idea for the artwork sprung from a digital vision or rendering which I used to translate into a bronze which is more traditional. On the opposite note, all of your exhibi- tions have been very consistent with abstract female portraits. What is it about the female face that inspires your work? When I started painting, my influence was mostly classical Renaissance paintings and painters. I think the idea of using a female muse emerged from that period of my work. Painting many female portraits and nudes is something that I think stuck with me. I feel the female face translates the best with the abstract qualities of my artworks, that seem more masculine to me. I find the contrast between the masculine abstractions and so feminine faces are a really good juxtaposition for the works. V U E N J . C O M 95

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