Family and friends became the subjects of the ‘90s works.  Satisfied that I was capable of the larger pieces, I returned to smaller, more focused ones. 

The dynamic interactions of Father, Mother, Sons and Daughters were depicted in sometimes very literal ways — such as a real lead heart for “a heavy heart” and an actual entwined vine for a “clinging vine” relationship.

Beginning with traditional rectangular formats, I experimented with others, including works on slate, and irregular shapes defined by driftwood frames. As a child, I recalled tacky paintings for sale along the highway that were framed in driftwood.  Why should folk artists have all the fun?  I was intrigued by the paradox of reversing the usual creative sequence by first making the frame which then would suggest   a colored and textured ground, then the subject and idea.