Aspects and Ambiguities of Contemporary Realism, Thesis (M.A.)--City University of New York Hunter College, 1984. Originally published: New York (N.Y.) : City University of New York, Hunter College, 1984. Interview with Chuck Close annotated in appendix.
1993 Scarborough Gallery, Chappaqua NY
Annual Juried Small Works Show. Juror: Michelle Donnelly, Curatorial Fellow at the Whitney Museum of American Art.
1999 Pelham Art Center, Pelham NY
1981 Organization of Independent Artists, New York NY
Art Workshops, Extension Programs & Art Education for children and adults.
Pelham Art Ceneter
Continuing Education; Portchester, Hastings, Irvington, Dobbs Ferry, Scarsdale
Westchester Public Library Systems
Public Schools, tenured: 1999-present
Curriculum Design, Project Development, Interdisciplinary Curricula, Grant Writing, Differentiation for Special Needs
Art Appreciation: Historical and Muliticultural
The objects that catch this light can be in immediate sight or in one’s mind’s eye. For years I have been taking photographic notes that serve as a collective library of imagery to draw upon when creating paintings. The light always has this extraordinary way of changing the reality of what I am photographing, always suggesting transformation and a sense of an extended moment in time. When we look at the world we see what is in front of us, but we also make connections from a lifetimes’ worth of visual memories. So when I work, I am looking to de-trivialize the scene before me by weaving together images from sometimes completely different original sources—a medieval church and a dilapidated railroad bridge, a row of vacation cottages and peacock feathers. Sometimes it is the same place with multiple perspectives intertwined. The synthesis of images may be subtly woven together or presented as an open dialogue as in a diptych. This conversation between imagery is at the center of my work.
Though I operate out of an American Realist tradition, I also draw upon aesthetic inventions from Surrealism and Pop Art—all artists who also represent the ordinary in extraordinary ways. As a result my influences are eclectic, running the gamut from Vermeer to Hopper to Ernst to Rosenquist. The majority of my work is done in water-based media, both acrylics and water colors or a mixture of both. I create small maquettes by collaging actual photos or drawing from the photos. Eventually the painted composites become a larger work on canvas or paper.