His work is uniquely his own with the rich interdisciplinary dialogues that are intrinsic to many of the individual works.

As a master of the analytic process, acquired as a teenager where, Dov tells us, he was trained to “analyze, evaluate, weigh and discover,” a process that became a “central core of his intellectual being as a creative person” the result is that now a painting becomes a canvas for problem solving, setting up rules that must be challenged in a “universe that is continually rebelling against itself” in “contradictions not otherwise resolvable “except through the prism of art.” Of his more enigmatic works, when asked for explanation, Dov says, “You know I am not shy about writing, but if words could have expressed this idea, I would have written an essay.”

At the same time, on another level, the act of painting “gives the soul a voice and lets it go” in explosions and explorations.

In addition, the transcendental impulse is powerfully evident in many of his works, exploring motifs and themes from Greek, Roman, German, and Norse mythology as well as both Testaments of the Bible, and ancient Egyptian religion, Hinduism and Buddhism.

Music is a common theme and sometimes a structuring or informing element in his work and is reflected in the tone, style and output of his work.

The cross disciplinary connection with music is continually reflected and represented in his art. As he has said, “my work represents a graphical reaction to a musical universe” in which “ideas of counterpoint, rhythm and repetition abound, along with the interplay of tonality and atonality” constantly in evidence so that we often see and hear in his work a continuum from the Baroque to Debussy to Mahler, Puccini and Stravinsky (who is an enormous influence with his neoclassic modernity, an edgy confrontation between the contemporary and the classical) and continuing further on to Berg, Schoenberg, John Adams, and John Cage.

Another significant aspect that appears in much of the work is an irrepressible humor that is revealed in whimsical or keenly observed parodies of style and subject as well as in internal visual “jokes,” Dadaist interplay and both gentle and trenchant satire. Where a painting contains an internal image of a painting, Dov will often sign the inner work and leave the outer work unsigned.

Many of his works depict male nudes, but, as he has stated, they “should not be seen as being about a specific orientation. The human body is endlessly expressive, although Western art like Western culture itself has generally associated athleticism with males and softness with relationship- building with females.” His work depicts many representations that are a rejection of these categorizations. When portraying humans, most of his models are not magazine cover types, but “real people,” as he seeks to “portray the infinite variety of human experience, not only beauty.”

The abstract paintings are executed with a variety of techniques and applications including layers of wash, both with brush and palette knife, mixing on canvas, texturing, employing artist implements, kitchen implements, stippling and natural sponges and natural and found materials.

The results are multi-textured works with a variety of surfaces with both flat and reflective values, and at times sculptural and exhibiting varying degrees of density and opacity.

A unique feature of some of the works is the environmental/spatial connection to the viewer.

Some paintings clearly have specific installation protocols and suggestions that heighten the effectiveness of the work, interacting with the space in which they are placed and also in the spatial interaction with the viewer. For example, a work such as The Creation of Light” is intended to be seen from below for maximum effectiveness. The large canvas, “Vision From Behind The Blind,” while powerful when seen head on, also has a powerful motion dynamic when seen from a side angle.

The displays of the works that are offered here translate the original works into a different medium. In translating multi-textured or multi-media works to a computer screen, new works have been created more closely approximating the print medium with alterations of color, texture and surface that are unique and startling on their own than that of the original work seen live. Thus the computer display/printed version of a piece takes on, in many cases, a different statement from the acrylic, charcoal, or sculptural original – different, but no less valid. This reality is reflected in this site’s offering for sale Dov’s original signature on prints as artworks in their own right.

For example, the powerful multi-media art, three dimensional sculptural work, “De profundis,” that literally seems to reach out to grab the viewer in its original form takes on a elegiac meditative power when seen in the print form with an impact that floats in the consciousness residually.

The unique and distinctive charcoal drawings inhabit a world of their own, all quickly and decidedly wrought in their depictions of the human form in renderings that range from the monumental to the trivial, from the startling to the whimsical.

While traditionally, drawings of the nude reveal the wonders and variety of the human form, these drawings rendered quickly (within a short time) reveal the wonders and variety of the human personality. The subjects, for the most part not experienced models, but persons from all walks of life, in their interaction to exposure in an unexpected modeling situation reveal levels of emotional experience in connection and detachment not often encountered. As the works are created within a rapid time frame, the works are distinctive for focus on unexpected small details and incisive real and imagined interactions with the surroundings, rather than recreating a photo-realist depiction of the human form.

Like the paintings, these drawings are available in print form, either in unsigned prints, or in limited edition signed prints by the artist.