About the Artist
There are many ways to unlock parts of ourselves. For me, the key was a box of crayons. In 1998 I treated myself to a deluxe 96-pack of Crayolas. I opened the lid, and the scent transported me to the cool green linoleum floor of my childhood playroom, where I spent hours drawing. Those crayons, along with watercolors and pencils, led me to paint my first chameleon, entitled "Self-Portrait," the idea being that women are continually changing their roles, shedding and growing new emotional and intellectual skin in order to adapt to their environments.
I am especially interested in the concept of transformation and how it relates to shape-shifting, gender-bending, evolution, and creation myth. The morphing of materials into images, of words into art, of male into female, of human into animal, of animal into landscape, of pattern into nature--these themes have yielded endless opportunities for me to explore artistically.
For the first part of my life, I thought of myself as a "stealth artist," having never studied art formally. In college I took art classes as independent studies, wading my way cautiously from black-and-white pen-and-ink drawings into a sea of color under the patient guidance of Professor George Chaplin, a student of Josef Albers. Twenty-five years and two children later, I took the plunge into full-color exhibitionism at my first one-woman show and haven't looked back. In 2006, I was invited to exhibit at the Environmental Sciences Center at Yale University's Peabody Museum. The result was a show that ran for one glorious year. Since then I've exhibited my work widely in galleries, museums, and other public institutions. And my artworks hang in homes from Vermont to California.
The materials I use to create my paintings are wax crayon, watercolor, gouache, metallic paint, colored pencil, and graphite. The crayons are applied within the barest pencil outline. When the watercolor is laid on top, a wax relief, or batik effect, is created. I draw and paint layers of crayon, paint, and pencil until a fabric of woven texture appears. I particularly enjoy it when viewers can't tell which is the paint, which is crayon, and which is pencil or how, precisely, the image came together. The seamless blending of materials reflects my thought that humanity and nature should ideally function on a seamless, mutually sustaining continuum. I'm also moving into the area of woodcut, with a series of pieces addressing the topic of gender, and into the area of fiber with a series of woolen "blanket statements," framed blankets on which my own words are embroidered.
I am an artist guild member of the Silvermine Arts Center in New Canaan, CT, and a member of the Ridgefield Guild of Artists in Connecticut, Surface Design Association (international organization of fiber artists), Katonah Museum Artists Association, and the Westport Artists Collective. In 2014 I was juried into the National Association of Women Artists. I have also curated three art exhibitions: "Continuum: Gender Identities," in 2011, and "The Women," in 2013, and "By A Thread" in 2016. I will be curating an exhibition entitled "Unbound" in 2017.