My artwork takes a view of the nostalgia from my youth. In my work, I like to communicate the silly, outlandish and the bizarre that were part of the steady dose of comic books, Saturday morning cartoons and pop culture of my childhood. My work reproduces familiar visual styles seen in the advertising of the 50ís through the 80ís and tends to reflect the comics and toy culture of this period. The images I create can be used in a range of commercial applications, ranging from advertising and editorial work to character design, sequential story-telling and animation.
The influences in my work are wide and varied. I love the ranges of linework by the contemporary comic artists John Buscema, Joe Madureira, Art Adams, Jim Lee and Joe Kubert. The scenes and tone of my work is strongly influenced by originating illustrators of the Brandywine school such as Howard Pyle and Harvey Dunn while my colors tends to stay on the vibrant side of one such as N.C. Wyeth and Jerry Pinkney. My colors can sometimes be bright and saturated such as the work by in the early offset printing of the 1970ís. The characters I create have heavy influences of Beanie and Cecil, Masters of the Universe, Transformers, Ren and Stimpy, Disney and early Hanna Barbera cartoons. These along with Marvel and DC comics are how I visualize my character designs and page layouts.
My works are multi-media, including drawings, sculpture, paintings and graphic design. Drawing is always at the heart of my work and is the basis of all my visualization. Saturday morning cartoons and comic books have informed my works from the onset; and this can be seen in much of my work, such as the poster Il Carnevale di Venezia as well as the editorial piece Phases for Runnerís World. I love to pose my characters in exaggerated poses and fanciful scenes. I try to achieve this as a blend between surreal imagery and comic inspired poses.