I was born in Washington DC and spent my formative years in Heidelberg, Germany. I received a BA in Art from Chatham College in Pittsburgh, studied printmaking at Cranbrook Academy of Art in Michigan, and later received an MFA from Maryland Institute College of Art in Baltimore. In addition to being a printmaker, I worked for twenty years as a graphic designer, both for exhibit design firms, specializing in science museums, and children’s book publishers. I taught introductory and advanced printmaking at the School of the Museum of Fine Arts and Wheaton College. For the last 21 years I was on the faculty at Lesley University College of Art and Design (formerly The Art Institute of Boston).
I am currently a member (and was the president for five years) of Full Tilt Print Studio, a printmaking collaborative formerly known as EES Arts.
My work is in many private and public collections including the following:
Museum of Fine Arts, Boston
Philadelphia Museum of Art
New York Public Library
Worcester Art Museum
Boston Public Library
In the past two years, biologically-inspired, mostly microscopic forms have given way to urban structures in my most recent work. The monoprints make use of simple architectural elements and reference the change in my immediate physical environment. Intense urban development encircles my living space, creating an uncomfortable sense of enclosure and density. The singular, house/figure structure is the vehicle—tightly gridded and impenetrable and acting like a blockade. For the most part, there is very little light emerging from the white of the paper, due to the heavy layers of alternating dark and white ink. This creates an opacity that is usually avoided in printmaking, but combined with the grid, it feels like the correct approach to convey the emotional impact of my neighborhood’s conversion, as well as that of the larger, current, social and political environment of unease. Many of the paintings are linked to the cityscape prints in terms of content, but have more color and surface activity. As the series progresses, the work becomes increasingly chaotic as smaller and smaller shapes collide with each other. I think this breakdown of structure reflects my mental clutter as well as events that surround me.