At the start of a studio day, I assemble drawing tools, inks, and various hand carved or found printing blocks, ready for use beside a blank sheet of paper. Beginning with a general plan and composition in mind, I build the image with these tools. Often, I employ working methods that react unpredictably, such as the interaction of ink with wet paper. Once I am satisfied with a basic composition, I develop it with ink, watercolor, pencil, collage, printmaking methods and wax.
Many artists have influenced my work and my sense of self as an artist. Hon’ami Koetsu, a 17th century Japanese artist, used innovative printing techniques which I have studied and introduced into my own working vocabulary. Paul Klee, whose work came to prominence in Europe in the early 1920’s, is an influence because of his quirky compositions and his “transfer drawing” techniques. I am pulled to the mesmerizing work of Hannelore Baron, who used cloth, ink and hand carved printing blocks to create small, emotionally charged collages. The artist Agnes Martin once said that making art gave her joy and a sense of well-being. I feel the same way.
I completed an MFA in 1994 and since then have enjoyed many happy hours in my studio. My art has been exhibited throughout the United States and in Europe. I received a Pollock-Krasner Professional Artist Grant among other grants and awards. I have enjoyed “gift of time” residencies – two visits for a month each in Newfoundland and one month in an electricity-free cabin in the desert hills above Temecula, California. My book, Simple Screenprinting: Basic Techniques and Creative Projects was published by Lark Books. I taught printmaking classes at Long Beach City College for twelve years.