Since early childhood, I've always loved nature and looked for any excuse to be out in it. Mr. Carlson's Field Biology class at Granada High ultimately led to a degree in Biology from UCSC (special thanks for Martin Ramirez, Todd Newberry, and Ray Collette for their patience, support, and example). Soon afterward, while working with the endangered and sublime Northern Spotted Owl, the camera I incessantly brought along began to take possession of me.

Back home in Santa Cruz I studied photography in earnest, inspired by the unique, experimental work of Jim Vecchi, Ken Ruth, and Norman Locks-- the latter two of whom were friends and students of Ansel Adams.

Within a couple years, I began working with National Geographic star Frans Lanting. Frans, and especially his general manager, Steve Kurtz, introduced me to the photo business world and inspired me to maintain high standards for the quality, originality, and purpose of my work.

My work stayed "strange," however, and seemed to be commercially useless. I was therefore surprised to be enthusiastically received by prestigious agencies, Tony Stone and Photonica.

I've also been lucky to have my "unique" work praised by some of the world's leading photography magazines (click here to read the profiles), and published in National Geographic and on hundreds of book and magazine covers around the world. Photography has sent me wandering in West African Mali, India, Europe, and throughout North America.

One thing I learned from Frans is that business talent is as important as artistic talent for a successful career in art. Unfortunately, I couldn't look with a light heart at the ugly side of business, relations with agents, and the egotistical demands of constant self-promotion. Photography quickly became "just a job," and almost as quickly, I found myself uninterested in shooting any longer.

Fortunately, the urge to create stayed healthy, and carried me into other art media (and more of my life-long songwriting habit). The broader enphases on studio art and art history soon brought me into teaching art, which has been my primary work obsession for the bulk of this past decade.

Teaching art is by far the most satisfying profession I have ever had. I consider the act of teaching to be art itself, and am constantly refreshed by the creativity and sincerity of my students. Children are by nature innovative; they've not yet settled into the habits most adults either fear ("ruts") or praise ("style").

To paraphrase Van Gogh, art is a conversation between the generations. College mentors, especially Don Weygandt and Norman Locks, showed me that art teachers are privileged to get to carry this conversation forward. Plus, it's a great pleasure to have an excuse to focus more on other people's art than marketing my own.

For a detailed biography, please read the profile by Livermore's Independent newspaper by clicking here. To visit the current Mendocino K-8 class website, click here.