“Old Man Crazy About Drawing”: An interview with Paul Harmon
FCR: For more than ten years, you divided your time between your studios in Paris and Brentwood, Tennessee. Do you miss living in Paris?
PH: Enormously, but I remember that great line from Rick (Bogart) in the movie Casablanca: “We’ll always have Paris.” Furthermore, I’m not through going over there. Or, perhaps even having another studio there. Who knows what’s around the next corner.
FCR: What inspires your paintings?
PH: Everything is suspect. My work is a personal journal of my life. It is therefore both serious and frivolous. Joyous and melancholic. Spiritual and erotic. The continuity is in the fact that it tracks a real life.
FCR: How did you develop your particular style?
PH: Stealing from other artists until I found an art that was my own.
As a very young painter, I found myself in this great gymnasium with a hundred or so world famous painters. We were all at our easels painting like crazy. I looked to my right and there was Henri Matisse. He was making to most beautiful, yet casual looking, painting with a purity of color. I stole from him. Cezanne was just to my left and Picasso and in the row just ahead. I stole from them too. You can’t imagine the dizziness I felt in this august company of my heroes including Velesquez, Bacon, Manet, Durer and Degas just to name a few.
Over a number of years I moved my easel about the room until, one day, I found myself in a corner. I looked to my right only to see a white wall. I looked to my left at a white wall also. I couldn’t see anyone’s work. That’s when I started to paint like myself. But, please remember that all those individuals from the history of art were still behind me in the room. They still are.
FCR: What were you like as a kid?
PH: I often look at old family photographs and wonder about that myself. I vividly remember countless events from childhood but haven’t much of an idea about who I was. Probably some degree of a rough work in progress.
FCR: Did you always know you were a painter?
PH: No. I loved to paint and draw but I didn’t think of it as something one did as a career. It was an amusement but, I did identify myself with it early on.
FCR: Did you paint as a child?
PH: My grandmother Adelaide Harmon was a gifted, accomplished painter. She lived quite close so she was my mother‘s neighborhood baby sitter. My art career started on the floor of her studio with scraps of newsprint paper and crayons. Over the years I’ve gotten better materials.
FCR: What did you want to be when you grew up?
PH: Long-range thinking was not, by any stretch of imagination, what I did as a child. This kind of pragmatism was not compatible with the dream world I inhabited.
FCR: Who were your heroes?
PH: In high school, my heroes were Hemmingway, London, Burton and other writers who wrote wonderful, soulful stories but also lived adventuresome tales themselves. They were always in exotic places with wars, women, drinks, fights, hunts, great discoveries and seemingly, they alone made the choices in their lives.
In college, I found (outside of classes, I must add) all those great new French writers: Genet, Robbe-Grillet, Camus, Sartre, Duras plus Samuel Becket who was living in Paris and writing in French. I thank Barney Rosset and his Grove Press for opening this great heavy door for me.
FCR: Were your parents artists?
PH: My father should have been. He had the spirit of an artist. My mother was creative too but for needlepoint, knitting, home projects, etc. They were married so very young and soon had two baby mouths to feed. They hadn’t the luxury to even think about anything but to provide for their family. Babies, World War II and jobs occupied their energies. They realized this and my sister and I benefited with their constant warm encouragement and cheer leading.
FCR: Where does your creativeness come from?
PH: DNA
FCR: Where were you educated?
PH: Private high school, Montgomery Bell Academy and the University of Tennessee.
FCR: When you’re working, what is your day like? Are you a disciplined painter? Do you meditate or jog first? Give the readers an idea of A Day in the Life of a real painter.
PH: Or, “A Night in the Life of a real painter. I wake at noon, putter around reading the paper, running errands, stroking my dog, building fireplace fires, reading mail and talking on the phone relative to the “business of art.” Not much art gets made.
After dinner, after friends, after a movie, whatever, I go to the studio to draw or to paint. It’s 11 o’clock PM to 12 midnight. Now, I can work without distraction until 5 or 6 or sometimes later in the morning. Nothing exists outside what my studio lights illuminate. This schedule varies depending on what I’m working on. These work sessions can spill into the daylight hours because of enthusiasm, deadlines for exhibitions or just the surprise that it’s been daylight for hours and I’ve been too focused to notice.
I work almost every day. I have a fear that the muse magic will hit, but I won’t know it because I won’t have a brush in my hand. Plus, I’m having the most fun anyone can have. It’s the same fun a child has making a picture of something otherwise floating illusively in his head.
FCR: What person has been the biggest influence for good in your life? Who are your heroes now?
PH: Two questions, one answer. My mother, my sister, my children and grandchildren. I thought a lot about your question. With all the writers, philosophers, artists, scholars, world leaders and the like, it all comes down for me to hearth and home. I’m surprised my own self.
FCR: Paul, there’s no denying that you’re an international celebrity. Do you feel like a celebrity?
PH: he great painter, Paul Davis told me about coming home from Japan after a series of exhibitions, books on his work, speeches and incredibly lavish, official state functions. His wife Myrna, in the course of the evening, suggested he empty the trash. He had to pay for items at the drug store. New painting ideas didn’t paint themselves. Nothing had changed except that he had fond memories and a new book of his art on the shelf.
Nothing really changes. You’re not healthier. Your back is still sore in the morning, You still have to work hard at relationships. And feed the dog, and yes, paint pictures. If you’re lucky, really lucky, sometimes you get a better seat in a restaurant. Most times not. It’s as it should be.
Anyway, painters are seldom celebrities. Their faces are not usually recognized. They hope that their art is recognized and that it has meaning outside of their studios.
The short answer: No, I don’t feel like a celebrity because I am not one.
FCR: In addition to your wonderful artwork, you’ve also birthed a beautiful book titled Dante's Stones, which you artfully wove around the photographs of Jean-Louis Bloch-Lainé, the photographer. You’ve said that you had decided to leave Paris after having had a home and painting atelier there for ten incredible years, and that Dante's Stones was your goodbye to Paris. With a few years between you and the departure of Paris as your home, how does it feel?
PH: See above. I’ll always have Paris.
FCR: What’s the best (bravest, most honorable, kindest) thing you’ve ever done, the act you’re most proud of?
PH: I left university after 3 years. My mother cried thinking I may never be able to make my way in this world. A few years ago, the president of the university flew in to meet my mother and me at my studio. He presented her with a plaque “for important international career accomplishments and contributions in the field of fine arts”.
Again my mother cried but this time out of pleasure and perhaps, because she saw great irony in the occasion. I had not been the best of students.
That’s the act I am most proud of and the credit for this great kindness goes to others. I am forever grateful to them for what it meant to my mother in her last two years.
FCR: What do you do for fun?
PH: Painting, drawing, movies, books, hanging out with my friends, talking with my wife Karen Roark, looking at her across a room.
FCR: What in your career would you have done differently?
PH: Oh, there are lots of little things I’d like to rerun and edit but no really big things. Wish I’d studied more and enjoyed school more. Since I’ve been out, I’ve been a good and focused (obsessed maybe?) student probably trying to atone for the lost years as well as satisfying a big curiosity about virtually everything. I lost a lot of time that’s hard to make up.
FCR: A few years ago following a serious storm that felled (was it 100?) trees on your property in Brentwood, you personally cleared the debris, cutting into firewood all the 200-year old trees that had fallen to Mother Nature’s whims. Having visited you during that period, I can attest that your land looked like a maze, with endless neat cords of wood stacked in rows. You’re still healthy and robust even though you’ve passed the 50-year mark. To what do you attribute that vigor?
PH: Well, it was only 17 trees but they were big and old and made a mess of the place. It looked like a war zone here. The oldest tree was an oak that if only it had been 40 years older, could have been dated to Columbus’ voyage in 1492. It was 6’7” high on its side. The other trees were a mere 200 years old and 3 to 4 feet on their side.
So tactful you are. I quote you: “you’ve passed the 50-year mark”. I’m going to be 67 on January 23, 2006. I’m happy to not be taking any medicines save an aspirin once in a blue moon. I look forward to being in perfect health until the big hammer falls.
My friends attribute my “vigor” to stubbornness, obsession and stupidity.
It should be pointed out that it took two and a half years to clear all the wreckage of the tornado, cut and split logs for firewood, and that I considered those trees as my personal trainer. I’m healthier for the experience. Plus I have firewood for all these many country fireplaces.
FCR: You live and work on that same land, in a home with a separate studio, both built in 1793. What is your life like these days?
PH: The same as it’s been all these years now. The paintings evolve over the years. Thankfully, my work provides a constantly shifting target, which keeps me on the other side of the coin from anything close to ennui.
FCR: How do you see yourself when you’re 80 years old?
PH: Here’s a round-a-bout way of answering this last question: When they asked Hokusai what he would like to have engraved on his tombstone, he said, “Hokusai, the date of my birth and death, and “Old Man Crazy About Drawing”.
Inventory of the Poet
(For Vladimir Mayakovsky)
Mad boiling train,
frenzy loud on rickety track,
you view a hand-hewn world,
vast white,
vast country
of Cathedral builders.
Possessed and obsessed
like your new heroes,
you are armed
with the unrelenting past,
that dark abysm of time.
Yet you attempt Futurism.
Heavy cargo loaded,
your boat crashed,
and delicate romance was
the first to shatter.
Did you know you would sleep in
Novo-Devechy with Gogol
and Stalin's wife?
Born 1939. Studios in Brentwood, Tennessee, U.S.A., and Paris, France.
1964
Dedication of Vanderbilt University Fine Arts Center.
1977
Drawings published in The New Yorker.
1978
Limited edition etchings and etchings with aquatint. Atelier Philippe Lejeune, Burcy, France. "Pink Lady," "Old Plate," "Cloud Lady," "Chaplin," "The Dream."
Drawings published in The New Yorker.
1979
Art Voices South. Cover and Interview "Lady With Lace," oil on canvas. May/June.
Official Poster for International Art Exposition, New York. "Balthus In Brentwood," oil on canvas.
Painting chosen to represent "Century III" campaign, the 200th birthday of Nashville, Tennessee.
International Art Exposition, Washington, D.C.
1980
Commissioned for commemorative poster. Roberto Duran / Sugar Ray Leonard Championship Fight. Published by Sound Seventy Productions. Distributed in U.S.A. and Panama.
International Art Exposition, New York.
Limited Edition Lithographs. Topaz Editions. GMB Publishing, Royal Oaks, Michigan. Two suites of six lithographs. Portfolio contained. "A Time Before Now," "A Place Before Here."
Art Expo, West, Los Angeles.
Limited Edition Lithographs. Topaz Editions. "Festival In Another Town," "Village Mirage," "Le Concorde."
1981
Bienal De Arte, Medellin. IV Medellin Internationale Biennial. Medellin, Colombia, South America. One of seven painters chosen to represent the United States.
International Art Exposition, New York.
Art '81, Washington, D.C.
1982
International Art Exposition, New York.
Basel International Art Exposition, Basel.
1983
International Art Exposition, New York.
Basel International Art Exposition, Basel.
Cheekwood Fine Arts Center. First major exhibition of work utilizing stencils.
Art 7, Washington, D.C.
International Art Exposition, Dallas.
1984
Work published by the Cooper Hewitt Museum, The Smithsonian Institution's National Museum of Design, "Variations on a Theme: Embellished Elevations of the Carnegie Mansion."
International Art Exposition, New York.
Tennessee State Museum. Retrospective Exhibition spanning 25 years of work.
1985
Work included in the American Embassy Collection in Paris, France.
International Art Exposition, New York.
The Tennessee State Museum acquired for its permanent collection: "Cycle I," "Cycle II," "Cycle III," "Cycle IV," oils on canvas, 6' x 6' each.
Basel International Art Exposition, Basel.
Vanderbilt Child & Adolescent Psychiatric Hospital. Commissioned for its permanent collection: "The Passage," a 48" x 72" oil canvas and twelve stencil monotypes.
1986
Biological Therapy Institute. Commissioned for its permanent collection: "Ancestors and Children," a 10' x 6', oil on canvas. Twelve stencil monotypes. Designs etched into six black granite panels and two sheet glass panels. "Strength and Serenity," a 48' x 72' oil on canvas. Six acrylic on paper collages.
Catalog published by the Biological Therapy Institute entitled: Ancestors And Children.
Chicago Northwest Community Hospital. Commissioned for its permanent collection, twenty-two works on paper for its cardiac care unit.
Knoxville Arts Council. to commemorate the re-opening of the World's Fair Sun Sphere.
1988
Drawings published in The New Yorker.
Limited Edition Lithographs. Topaz Editions. Published by The Biological Therapy Institute. "Mankind." Suite of four lithographs, portfolio contained.
Vanderbilt University Hospital / Henry-Joyce Cancer Center. Commissioned for its permanent collection: "Promenade I," "Promenade II," "Promenade III," oils on canvas, 60" x 48" each and twelve stencil monotypes.
Commissioned by Philip Morris U.S.A. "An American Mosaic," a 6' x 12' oil on canvas.
Limited Edition Serigraph. Petro III Graphics. "The Boy."
Recording Artist, Mickey Newbury's "In A New Age" album. Harmon painting from the "Prehistoric Landscape" series used as album, cassette and compact disc cover.
Bridgestone U.S.A., Inc. Commissioned for its permanent collection, sixteen etched glass panels. Also selected for the executive offices and conference rooms, a variety of canvases and stencil monotypes.
1989
Limited Edition Serigraph. Petro III Graphics. "The Philosopher's Pupil."
Harmon work included in The New York Art Review. Third Edition.
Coping, winter issue. Featured the Harmon work in series of articles discussing "The Art Of Healing." A detail of a lithograph from the "Mankind" suite was used on the front cover.
Penthouse, July issue. Featured a nine-page "Art Portfolio" of erotic works on paper.
First One-Man exhibition in Paris, Galerie Art Public.
Drawing published in The New Yorker.
1990
Recipient of two major awards at the XXIV Prix international d'art contemporain de Monte-Carlo, 1990. Prix de la ville de Monaco. Prix de la societe E.J.A. The Harmon painting, "Walking Man," from this exhibition / competition was chosen by Her Serene Highness, Princess Caroline of Monaco for her private collection. In connection with the Prix de la ville de Monaco, a canvas was commissioned by the Principality of Monaco for its permanent collection.
Limited Edition Lithographs. Published by Art Multi, Paris. "L'amante de Baudelaire (Jeanne Duval)," "Le Voyage," and "La Villa."
FIAC, Paris
Theatre sets commissioned by The Hampshire Women's Theatre Collective for three plays. "Female Parts," "Shadow Of A Man," and "Agnes De Castro."
Art Contemporain. Saint Martin du Tertre, Val d'Oise, France. Recipient of commemorative medal from the city of Saint Martin du Tertre.
1991
FIAC, Paris
1992
Limited Edition Lithographs. Published by Art Multi, Paris. A suite of four, "Invites imaginaires."
Limited Edition Lithographs. Published by International Fine Art Publishers. Bloomfield Hills, Michigan. "Sacred Planet," "The Kiss," "Sailing to Byzantium," "Music and the Medicis."
Europ'Art, Geneva.
Harmon painting "Wisdom & Madness II" from the private collection of Randy Goodrum, used as album cover for his new album titled, "An Exhibition."
1993
Commissioned by The Nashville Zoo to develop a community program with young art students to design and paint new zoo van.
Exhibition catalog produced by Galerie Art-Expo, Paris and Galerie J.P.F., Montpellier.
Essay titled: Paul Harmon: Line and Light written by Solange Yves de la Vigne-Bernard, Paris.
Club culturel Franco-American Paris studio visit and lecture.
Two-Person Exhibition for the benefit of the Williamson County Arts Commission titled: Paul Harmon and John Guider: A Painter and A Photographer Look at Williamson County.
Nashville International Airport, One-Man exhibition titled: Paul Harmon: The French Connection. Sponsored by the Nashville / Caen, Sister City Program for cultural exchange between Nashville and Caen, France.
Commissioned by the Nashville Arts Foundation for its permanent collection: "Inventory of the Poet (for Mayakovsky)," "Life on Earth," "Nostalgia," oils on wood, 8' x 4' each.
First sculpture exhibition. Galerie Art Public, Paris.
The Nashville Arts Gallery, group exhibition titled: Collectors Select The Best of Nashville Working Artists.
67' salon de la Societe des Artistes Bas-Normands, Hotel de Ville, Caen, France. Harmon was a "Invite d'honneur" (honored guest) artist of this major group exhibition.
1994
Commissioned by the Tennessee State Museum for its Tennessee Twelve: Contemporary Painting Today exhibition and permanent collection, acrylic on canvas. 60" x 48".
Ville de Caen, France. Eglise du St. Sepulcre. This major Harmon exhibition sponsored by the city of Caen coincides with the city's remembrance of the 50th anniversary of the Allied troop invasion of Normandy.
1995
South Georgia Medical Center / Pearlman Comprehensive Cancer Center. Commissioned for its permanent collection: "A Place Called Childhood I," " A Place Called Childhood II," oils on canvas, 60" x 48" each.
Commissioned to create artwork for commemorative champagne bottle in celebration of the "50th Wedding Anniversary of President and Mrs. George Bush." The original paintings are part of the permanent collection of the George Bush Presidential Library and Museum.
Commissioned to create artwork for the official 1995 Italian Street Fair poster celebrating the 50th Anniversary of the Nashville Symphony.
1997
The painting Vulnerability is featured prominently in the nationally released Showtime film, Pronto. Based on the Elmore Leonard novel, the film stars Peter Falk, James LeGros, and Glenne Headly and was directed by Jim McBride (The Big Easy).
Work featured in an exhibition connected with the Southern Stage Production at the Belcourt Theatre of Love Letters, with Jennifer O'Neil and Alex Harvey.
Designed original images for Film Flam XIX publicity and auction to benefit Sinking Creek Film Celebration, Inc.
Created the original oil painting Brentwood for permanent display in the Brentwood Chamber of Commerce. The painting represents memories of horseback riding through the farms and woods of the area surrounding the artist's studio.
Original art Partners is featured on the cover of The Center Window, published by the South Georgia Medical Center.
Closed the Paris, France residence and studio after 11 productive years there.
1998
A small book, Dante's Stones, written by Paul Harmon, photographs by Jean-Louis Bloch-Lainé, design by Lynette Sesler, was published as an homage to the city of Paris.
The painting Forever Kiss is chosen to promote the "Totally ArtCentric" tenth annual art benefit show for the Bethlehem Centers of Nashville.
Designed two original art pieces for Prevent Blindness Tennessee, Downhome Derby Party.
1999
Dante's Stones received an ADDY Award as well as Print magazine's Regional Design Annual Citation of Excellence. The work was pictured in the magazine.
Sacred Planet was commissioned as a part of the Tennessean's millennium collection. The collection toured area art galleries, schools, libraries, and museums throughout the year.
Original work featured in the promotional literature for the Williamson County Arts Council "ArtStravaganza" benefit.
2000
One-man exhibit, An Intimate Journey, of 7 oil paintings and 353 watercolors at Zeitgeist Gallery in Nashville.
2001
Russka, a limited edition print of St. Basil's Cathedral, was created for the Nashville Ballet's annual fundraising ball. Created additional works for use on promotional material and for sale to benefit the ballet company.
Featured in the Tennessee State Museum's Best of Tennessee exhibition were three Harmon ceramics and an oil painting. The canvas, Abbaye aux Hommes, Caen, France (on the occasion of the 50th anniversary of D-Day) is also in the permanent collection of the museum.
Inclusion in the International Web Art Exhibition, "Il Condominio." Hicetnunc Rassegna di Arte Contemporanea. Chiesa di San Lorenzo, Conume di San Vito al Tagliamento.
Commissioned by The Sunset Grill and Zeitgeist Gallery: The Artist's Table, I. Seven suites of six original works on paper in homage to Dali, Matisse, Monet, Picasso, Rousseau, and Van Gogh.
Included in Georgetown University Library's permanent collection of American Fine Prints: The Philosopher's Pupil (1989), The Music and the Medicis (1992), and Sailing to Byzantium (1992).
Created a painting, The Magic of Music, commemorating the opening of the Vanderbilt Blair School of Music's Ingram Center for the Performing Arts. It was used for posters, print ads, and t-shirts.
2002
For the Sunset Grill, designed charger plates using a painting on the front, Barcelona Nights, and a quote from Van Gogh on the back: "Un jour ou un autre je crois que je trouverai moyen de faire une exposition à moi dans un café-- Vincent." (One day or another I believe I will find a way to have an exhibition of mine in a café.)
Included in the continuing exhibitions of the new West Tennessee Regional Art Center, Humboldt.
Commissioned by The Sunset Grill and Zeitgeist Gallery: The Artist's Table, II. Seven suites of six original works on paper in homage to Cezanne, Chagall, Degas, Gauguin, Giacometti, and Magritte.
Acknowledged in a special presentation by the President of the University of Tennessee for "important international career accomplishments and contributions in the field of fine arts."
1960-61
One-man exhibitions:
* Vanderbilt University Theatre, Nashville
* Business & Professional Women's Regional Conference, Nashville
* New Theatre Nashville, Nashville
Group exhibitions:
* Nashville Arts Festival, Nashville.
* Smithsonian Institution, National Collection of Fine Arts, Washington, D.C.
* Cheekwood Fine Arts Center, Nashville.
* Belmont College in conjunction with the Southern Literary Festival, Nashville.
1963
Group exhibitions:
* Madison Art Directions Gallery, New York.
* New Directions Gallery, New York
1964
One-man exhibition:
* Vanderbilt University Fine Arts Center, Nashville
1976
Group exhibition:
* Cheekwood Fine Arts Center, Nashville.
1977
One-man exhibition:
* Martin-Wiley Gallery, Nashville
1978
One-man exhibitions:
* Bill Young Gallery, Nashville
* Cavaliero Fine Arts, New York
* Carl Van Vechten Gallery, Fisk University, Nashville
Group exhibition:
* The Windsors Gallery, Miami.
1979
One-man exhibitions:
* Centennial Club, Nashville
* Studio Exhibition
* Benefit for the Nashville Symphony, Nashville
Group exhibition:
* Michel Vockaer Gallery, Brussels.
1980
One-man exhibitions:
* Ambiance Fine Arts, Nashville
* Cavaliero Fine Arts, New York
* GMB Galerie Internationale, Royal Oaks
* Laura Pollack Gallery, San Diego
1981
One-man exhibition:
* Aronson/Healey Gallery, Atlanta
Group exhibitions:
* Phoenix Fine Arts, Maryland.
* IV Bienal De Arte, Medellin, Colombia.
* The Studio/L'Atelier, Nashville.
1982
One-man exhibitions:
* The Studio/L'Atelier, Nashville
* Phoenix II Gallery, Washington, D.C.
1983
One-man exhibitions:
* Cheekwood Fine Arts Center, Nashville
* Jefferies, Austin
* Clarksville Cafe, Austin
* The Studio/L'Atelier, Nashville
1984
One-man exhibition:
* Tennessee State Museum, Major Retrospective, Nashville
Group exhibition:
* The Studio/L'Atelier, Nashville.
1986
One-man exhibitions:
* Belmont College, Nashville
* Harpeth Hall, Nashville
Group exhibition:
* Southeast Art Exchange, Nashville.
* Harpeth Hall, Nashville
Group exhibition:
* Southeast Art Exchange, Nashville.
1987
One-man exhibitions:
* Knoxville Arts Council, Knoxville
* The Malton Gallery, Cincinnati
1988
One-man exhibitions:
* The Merida Galleries, Louisville
* Vanderbilt University Fine Arts Center, Nashville
Group exhibitions:
* The Hoyle Gallery, Boston.
* Carl Van Vechten Gallery, Fisk University, Nashville.
1989
One-man exhibitions:
* Galerie Art Public, Paris
* South Wharf Gallery, Nantucket
* Zantman Art Galleries, Palm Desert
1990
One-man exhibitions:
* Galerie Art-Expo, Paris
* Galerie Sabala, Paris
* The Malton Gallery, Cincinnati
* Ambiance Fine Arts, Nashville
* South Wharf Gallery, Nantucket
* Bennett Galleries, Knoxville
* Sande Webster Gallery, Philadelphia
Group exhibitions:
* XXIV Prix international d'art contemporain de Monte-Carlo.
* Galerie Art-Expo, Paris.
* Zantman Art Galleries, Palm Desert and Carmel.
* Art Contemporain, Saint Martin du Tertre, Val d'Oise, France.
1991
One-man exhibitions:
* Carl Van Vechten Gallery, Fisk University, Nashville
* Galerie Art-Expo, Paris
Group exhibitions:
* Edith Caldwell Gallery, San Francisco.
* South Wharf Gallery, Nantucket.
* Musee de Lons-le-Saunier, Lons-le-Saunier, France.
1992
Group exhibitions:
* Oasis Center, Nashville.
* South Wharf Gallery, Nantucket.
1993
One-man exhibitions:
* Galerie J.P.F.,Montpellier.
* Galerie Art-Expo, Paris
* Nashville International Airport, Nashville
* Folon & Rigsby Gallery, Nashville
* Sande Webster Gallery, Philadelphia
* The Malton Gallery, Cincinnati
* Harpeth Hall, Nashville
Group exhibitions:
* Oasis Center, Nashville.
* Williamson County Arts Commission, Franklin.
* Van Cleave Galleries, Hot Springs.
* Galerie Art Public, Paris.
* The Nashville Arts Gallery, Nashville.
* Alexander's, Tampa.
* Galerie Art-Expo, Paris. 67e salon de la Société des Artistes Bas- Normands.Caen, France.
* Blue Sky Court, Nashville.
* The Malton Gallery, Cincinnati.
* Folon & Rigsby Gallery, Nashville.
1994
One-man exhibitions:
* Alexander's, Tampa Eglise du St. Sepulcre, Caen, France
* Taylor's Contemporanea Fine Arts, Hot Springs
* Galerie Art-Expo, Paris
* Folon & Rigsby Gallery, Nashville
* Montgomery Bell Academy, Nashville
* Montgomery Bell Academy, Nashville
Group exhibitions:
* Montgomery Bell Academy, Nashville.
* Oasis Center, Nashville.
* Tennessee State Museum, Tennessee Twelve: Contemporary Painting Today, Nashville.
1995
One-man exhibitions:
* Godwin-Gaspar Gallery, St. Louis
* Galerie J.P.F., Montpellier, France
* Sande Webster Gallery, Philadelphia
* Lowndes Valdosta Art Center, Valdosta
* Alexander Fine Arts Gallery, Ybor City, Tampa
Group exhibitions:
* Oasis Center, Nashville.
* Galerie Deprez-Bellorget, Paris.
* Holland-Smith Gallery, Huntsville.
* Local Color Gallery, Nashville.
* South Wharf Gallery, Nantucket.
* Taylor's Contemporanea Fine Arts, Hot Springs.
1996
One-man exhibitions:
* Galerie Déprez-Bellorget, Paris
* Galerie Art-Expo, Paris
* Holland Smith Gallery, Huntsville
* South Wharf Gallery, Nantucket
* Godwin-Gaspar Gallery, St. Louis
* La Galerie JPF, Montpellier
* Bennett Galleries, Knoxville
* Shelton Gallery, Nashville
Group exhibitions:
* Oasis Center, Nashville
* Galerie Hertz, Louisville
* Galerie Déprez-Bellorget, Paris
* Elephant Art Show, Zeitgeist Gallery, Nashville
* The Tennessee Artist, Nashville
1997
One-man exhibition:
* Parthenon, East Gallery, Nashville
Group exhibitions:
* Elephant Art Show Zeitgeist Gallery, Nashville
* Figures, Zeitgeist Gallery, Nashville
* For the Sake of Art, Zeitgeist Gallery, Nashville
1998
One-man exhibition:
* Local Color Gallery, Nashville
* Group exhibition:
* Zeitgeist Gallery
1999
Group exhibitions:
* Arts in the Atrium, Brentwood
* ArtFest, Belle Meade Plantation
* Portrait of the Artist, Artrageous
* The Arts Company, Nashville
* Tennessean2000 Collection
2000
One-Man exhibition:
* "An Intimate Journal," Zeitgeist Gallery, Nashville
Group exhibitions:
* Tennessean2000 Collection, Tennessee State Museum
2001
One-man exhibition:
* 801 Franklin, Huntsville
Group exhibitions:
* Galerie Hertz, Louisville
* Oasis Center, Nashville
* "The Best of Tennessee," Tennessee State Museum
2002(First Quarter)
One-man exhibition:
* Artist's Table II Showing, Sunset Grill / Zeitgeist Gallery, Nashville
Group exhibition:
* Zeitgeist Gallery, Nashville
