We've moved! Find us at 238 Bridge st, Northampton

In the spring of 2009, I began to make mosaics choosing to work in the indirect method, a technique that I have employed ever since. For the indirect method, I place my materials face-side-down on sticky paper, not knowing the final results of my design until I turn the piece over into a bed of cement. It is through a certain controlled randomness, a willingness to cede one’s expectations to gravitational forces and the power of sticky tape that I apply the indirect technique to expand the boundaries of this art form.

This is a process of chance, choice, and discovery.

97% of the human body consists of stardust. This must be why I feel such a deep connection to the beyond.  Everything in history has happened on this spinning ball in our galaxy. When time seems to fly and everything seems chaotic I look up, even just for a second, and feel a sense of wonder. I sought to bring the infinite space of the universe into each piece. Creating a dreamy, starry, and ever-expanding feel through my art. Hours began to fly by as I channeled myself into these pieces. This series is a direct reflection of that experience.

I began to draw at the age of forty-two, after a life-altering encounter with a book entitled “The Zen of Seeing”, by Dutch-American artist Fredrick Franck. My first drawing in 1990 was of a #2 pencil. It took me an exhausting two hours to draw. But what that first drawing taught me was that I already had most of the tools I needed to investigate the visual world and— perhaps– even the stories that lay behind the forms and colors I was observing. And indeed, it was the stories of people’s lives that most interested me at that time. So I began with portraiture. People came into the studio that I had rented in a small town in southern New Hampshire, and we talked while I drew;  the charcoal and pastels that I held in my hand gradually became friends, and helped me to invite and tell the story I was seeing. Some of these first paintings were exhibited and sold; two are in this show.

During this pandemic year, when social distancing made studio visits and portraiture sittings impossible, I found myself going back to some old drawings, tearing and cutting and re-arranging the pieces into new stories— often including words and images from my religious tradition, which has been such a help in keeping me spiritually in balance. This year has turned many people’s worlds upside down. It seems appropriate to be telling new stories, and discovering what was perhaps absent from my sight thirty years ago.