I grew up in New York City. There, and later in Boston, my education focused on both practical art and art history, first at City College of New York, then the Fashion Institute of Technology, and finally at Tufts University, where I received a Master of Arts degree. I’ve also studied at the School of the Museum of Fine Arts, Boston; The DeCordova Museum, Lincoln, MA; and have taken workshops with various pastel greats.
The luscious material of pastel enchants me, and the nuances and permutations of color that can be achieved in the medium fascinate and never fail to surprise. The infinite color choices and the immediacy of application and gratification satisfy my need for instant feedback. I have a visceral response to pastels and can feel a correct color and stroke.
Color relationships are most important to me and include the shapes and mysterious spaces colors create. I enjoy playing with perspectives that hide and evade and use color to establish a geography of receding and advancing planes that sometimes surprise and perplex. Line also plays a major role as I try to capture its elusive quality by making it appear and disappear. In doing so I wish to remind the viewer of past marks I’ve made—revealing the painting’s history, in other words.
My nonobjective work is inspirational, intuitive—the paintings plan themselves as I wade in with color and then respond on the spot to the color and shapes I create. Many of my nonobjective pieces resolve themselves into landscapes, but not of any specific location—more like historical memories of landscapes seen and imagined. I’m not afraid to brush or wash out passages I’m not satisfied with, and change is a constant. Pastel is perfect for this, with its intensity and forgiveness. I tend to use up pastels like crazy.