As I draw the first few lines of a face, I keep my eye out for the slightest interesting or unnusual impression that the semi-formed face produces in me. From that point on, it becomes my only focus, and every line drawn is meant to enhance that impression or add to it that which makes it even more interesting.

There is little consideration for aesthetics or technique because these typically put into motion a different set of dynamics than the impression one receives from a pair of eyes or lips.

I tend to draw in black and white, for example, because the effects of color on the psyche are of a different dimension than that produced by the features of a face. Combining, say, red and yellow moves consciousness in one direction, a frowning smile above a tiny chin moves one in another. The combination of both effects in a single piece causes a dissipation of effect. Hence, the lessening of its power.

When I behold a portrait, even of the greatest masters, in color vs. in black and white, I feel that the effect of the face almost always is enhanced in black and white. I realize how controversial this outlook may seem, given that few others think this way. But, this is how I see it. Perhaps, this is because I am especially sensitive to the image of a human face.

When all components of a work of art are directed towards a single effect, this is what I call "atomicity of expression". This occurs when every line drawn is working in unison, when all components are effectively indivisible; they act as one. The higher the degree of atomicity of expression, the more vitality it proves to possess to the appreciating viewer.

One analogy to the atomicity of expression found in nature is the black hole phenomenon. A black hole is a gravity well which surrounds a point of singularity. Its force is inescapable. Artwork which is well centered has a similar effect psychologically. I am not claiming my art reaches these grandiose proportions of effect, but this ideal is what drives me as an artist.