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 in Boston 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 received a Massachusetts Cultural Council Grant in Painting in 2022.
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
Biologically-inspired shapes have given way to geometry in the Tower Series and the Scaffold Series. Both make use of simple architectural elements and reference the change in my immediate physical environment. Intense urban development in my Fenway neighborhood encircles my living space, creating an uncomfortable sense of enclosure and density. In what was once a village-like atmosphere of small, brick apartments, enormous, expensive, towers have sprouted up quickly. More of them are on the way. Surprisingly, I am attracted to the geometry of the scaffolding needed to erect these buildings, especially from a distance when the total structure can be viewed in its entirety.
the course of the Tower Series, I’ve
realized that the paintings are really self-portraits in building form—the
singular tower being a figure substitute, perhaps a visual metonomy. Often tightly gridded
and impenetrable, they infer a blockade. Although they
look like they are collaged, their component parts are built up with paint
overlay, one shape on top of another, and assembled to suggest a teetering and
uneasy sense of balance and disequilibrium.