Bio

I have always been an artist, a maker of things. Growing up on Long Island, NY, I would spend hours drawing, painting and creating objects. I am a middle child; I have an older sister and a younger sister. As a child I always felt a bit lost. Art helped me to regain my equilibrium and explain how I was feeling.

I started my college career in art school at Boston University School of Fine Arts. Outside pressures together with a general frustration with my work led me to leave art school. I moved to New York, where I graduated from New York University with a degree in teaching (1973) and a minor in art. I taught elementary school for a year and although I was creative in the classroom, I was restless with my departure from the creative arts. Finally, deciding to follow my passion and grapple with the frustration that I experienced as an undergraduate, I applied and was accepted to a Masters program at the Rochester Institute of Technology School for American Crafts (RIT), where my focus was in weaving and textile design. At RIT I immersed myself in the art of weaving and papermaking. I loved the tactile sense of weaving and textiles. As a masters student, my work was included in the International Exhibition of Miniature Textiles in both 1976 and 1978, a show that originated in London and traveled throughout Europe. My senior thesis was titled "A Sense of Self" and was an autobiography of sorts; I had finally found my voice through the employment of a variety of weaving, papermaking and sculptural techniques. Upon my graduation from RIT in 1978, I received the Wallace Memorial Library Purchase Prize Award.

Following graduate school, my career began to blossom. In 1977, I was an artist-in-residence at Art Park in Lewiston, New York, where I demonstrated papermaking techniques for visitors to the park. In 1978, I was awarded a one-year National Endowment for the Arts Fellowship Grant. With the NEA grant I built my own papermaking equipment to experiment with hand papermaking techniques, in both two and three dimensions. I took up residence at the Farmington Valley Art Center in Avon, Connecticut and was able to make my art alongside other artists.

Moving back to New York City, I discovered the Rockefeller Wing of the Metropolitan Museum of Art and spent hours perusing the collection. The work of the people of Africa, Central and South America, Eskimo, Native American and the South Pacific inspired me and continues to inspire me. In these works that have a close connection to indigenous cultures, I find the materials and forms intriguing for their power to inform, for their beauty, and for their intrinsic meaning to the maker. My tapestries included very intricate figures inspired by these collections.

I was beginning to feel the need to work larger and looser; I began to paint. Wood panels and canvas were now my starting point. Using oils, textiles, paper and other found objects, my story continued through this new media. My mixed media approach to painting was and still is very influenced by my early weavings and textile work. The figure that I created while weaving found her way into my paintings and collages. She became my muse – my narrator – and the focal point of my paintings. To this day, I use the same figure in my paintings; although her form has evolved, she is still my storyteller.

In the 1990s, the Bachelier-Cardonsky Gallery in Kent, Connecticut, began to show my work and did so until the gallery closed in 2009. I have been represented by galleries in New York City, Boston and Provincetown, Massachusetts. With each exhibition, each group or solo show, my figure, ever present, spoke to the visitors and art collectors who purchased my work. Gerrit Henry reviewed my 2001 solo show in the October 2001 issue of Art in America. Other exhibitions have been reviewed by the New York Times, (1997, 1986) and by Cover Magazine, (1999).

In the 1990’s I worked for The Paper Bag Players, a children’s theater troupe, as a scenic artist and designer. I worked closely with Judith Martin, the company’s founder and director, who taught me how brown paper could be used in creative ways to entertain children and tell stories. Together we used paper and cardboard to create fantastic objects and scenes. The playfulness with color and materials utilized in this work was invaluable to me in my work.

Beliefs in social responsibility have led me to bring my artistic vision and sensibility to promote social change. Over the past few years, I have created Prints for Social Change, selling original prints to raise money for political and social causes that I support including gun control, sustainable farming, women’s health and reproductive rights and immigrant rights.