In 1981, I spent seven months in Provincetown at the Fine Arts Work Center as a fellow.  This gift of time and space gave me the opportunity to be an artist all day and every day.  While there, I was chosen by Jack Tworkov to be in a prestigious exhibition at CDS Gallery in NYC.  “Artists Choose Artists” was curated by Dore Ashton and included emerging artists chosen by other notable artists such as Robert Motherwell and John Walker.  My career flourished with one person and group exhibitions.  This good fortune led to critical and commercial success, including the “Working in Brooklyn” 1987 exhibition at the Brooklyn Museum of Art, curated by Charlotta Kotik.

My academic studies include an MFA from Pratt Institute, a BA from Trenton State College, as well as, a formative year at Bard College.  I have received fellowships from the Fine Arts Work Center in Provincetown and MacDowell Colony.  Numerous professional credentials include solo and group exhibitions in and around NYC.

Although I have a long gap in significant professional achievements, I have continuously worked as a painter in my studio in the Vinegar Hill neighborhood of Brooklyn.  In 2012, I revisited Provincetown for a short residency at the FAWC.  Being out of the city, back in the dunes and walking the seashore, my creative self began to unwind.  My relationship to materials altered.  Removed from my daily studio practice, I found myself piecing together found objects with a painterly eye.  A pastime of scavenging for interesting objects has radically evolved to this renewed passion for making art.  I have transitioned from a long loved world of painted surfaces to the construction of three dimensional assemblages composed of found metal objects.  This body of work is evident in the work I present now.



Influenced by over 30 years of painting, this intuitive assembling of found objects is playful and serious.  What began as a diversion outside the critical realm has become my daily studio practice.  My painterly sensibilities combine with an affinity for outsider art and I find myself “making things.” Second hand shops, basements of aging hardware, cast offs left on stoops for repurposing, and street debris contribute to the materials and inspiration for creating these metal assemblages.  The vast collection of materials in my studio allows me to cruise for the right shape and color.

The craft of my work is intuitive invention:  sanding, drilling, wiring, epoxy; taking apart and reconstructing to determine where an element fits and figure out how to make it stay.  Part of the process is in the collection and preparation of the materials.  The alchemy of removing the rust and grime to reveal authentic metal surface is part of the process.  Immersion in vinegar is the primary chemical process to remove rust, baking soda is used for preservation.  The wax, linseed oil and turpentine mix act as a finish to slow further deterioration of the metal.  My archival considerations are for the preservation of the patina of the manipulated metal.  Nonetheless, the work is destined to evolve with age.

Each object is a puzzle with no solution.  Piecing together disparate elements to create visual, physical conversations is my focus.  The success is measured by the interactions of all parts conversing.