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Shaffer isn’t in this business for the money, although he concedes it would be nice to be famous for his artwork. He’s one of those obsessive souls who produce art no matter the venue, the revenue or the review.

This self-described ‘‘fidgety” artist always has had ample time to transform himself from cancer researcher-by-day to slasher-of-paint across a canvas at night. Now retired, Shaffer may want his artwork to be different, but he also knows his gestured abstractions are familiar: Think Jackson Pollack. And that’s OK with Shaffer, since he isn’t hoping to create a new movement. Shaffer’s paintings may seem wildly free and easy, in fact, he always begins with a sort of grid system. Laying his canvas on a table, the artist makes quick broad stokes across the surface. Sometimes, he brushes wet paint against wet paint, causing tension where the colors mix. Other times, he layers the paint, building up color and texture. He might gently drip paint or let it explode over the surface. Then, using a squeeze bottle, he paints cursive curlicues. No matter the technique, he is always painting along a vertical or horizontal pathway.

Since developing his art in the early 1970s, the grid has been Shaffer’s diving-off point when creating art. Figuring ‘‘what is more fundamental than drawing lines” in his early years, the artist started by using ballpoint pens, pencil or anything else he could find to scratch out these grid-like forms. Acrylics came next, with the artist developing abstract grids that may be hung any which way. Pigment counts with Shaffer, using striking blacks and whites with touches of lemon yellow to cotton candy pink and guacamole green. Likening himself to a poet and humorist, he enjoys giving his art silly sounding titles like ‘‘Elderberry Jim Jam” and ‘‘Bubble Trouble.”

He doesn’t just paint and draw. Now Shaffer is hard at work creating a video, starring the artist spoofing his creative cohorts. He’s even thinking of putting the video onto YouTube, but he worries that his pacing and its intellectual components may be wrong for the kinetic world of cyber space.

Growing up in Cumberland, Md., Shaffer admits that for much of his early years, he was more scientist than artist. But while attending graduate school at Southern Illinois University, he wanted to do something completely different from his exacting work. Using some scraps of wood, he burned them with a torch and attached them into ‘‘classic shapes.” And when this first attempt won a prize at the college’s art competition, he knew he was on to something.

For some 20 years, Shaffer stuck to abstraction; he liked the freedom. And with no art school experience, the artist feared he’d be a failure at realism. But in 2000, he started taking life-drawing classes and liked it. While he may never be a realist, he now uses computer-generated images to make bold portraits.

It seems no matter if he’s painting, creating a performance art at his computer, it’s a good thing this artist can’t sit still.

The Public Arts Trust of the Arts and Humanities Council of Montgomery County presents Mike Shaffer’s ‘‘Crossing Lines” through April 5 at the Visions Exhibition Space, The Bethesda North Marriott Hotel and Conference Center, 5701 Marinelli Road, North Bethesda. Call 301-565-3805.