Art projects

Declaring Human and Sacred Vitality

An artist always functions as a conduit or catalyst who ushers in new possibility to take on a life of its own.  As a creator, the artist inherently bears the burden of painstakingly conveying raw potential into something uniquely realized--just as a parent nurtures a child to become his or her own person.  I continuously explore the relations between individual perceptions of reality and the reality of possibility. I engage in my work to remind myself and others of these links between layers of reality--and of the role our active stewardship of such connections plays in the formation of a sacred space.


Verdant Vistas: Finding the richness

A series of six landscapes exploring nature as a multi-elemental compilation and jewel.

2006 (January) Clare Gallery, Hartford, CT - Artists in our midst - Group show

Artist Statement

I currently am exploring the landscape as “messenger” or that which is in a constant state of “reminding us” of our inherent connection to person, place or concept. The “elemental” ingredients that we all share are readily available in our everyday lives in many forms, such as, plants, stones, feathers, or glass. These and many other ingredients are imbued with historical, scientific, mythical or religious significance. I am looking at these components, as they are always part of the interwoven tapestry of “landscape”, to reveal their story.


You are only as far as you feel

A series of fifteen works (12 paintings and 3 large works on paper) exploring the concept of horizon.

Mother, Goddess, Muse


A series of fifteen assemblages (seed pods, feathers, dried flowers, rocks, shells, wood, plant parts) on paper and silk.

ArtSpace Hartford, CT - Group show


Artist statement

The work I find useful always somehow integrates deep tranquility and frank biological energies. By useful I mean simply that which, beyond theory, makes an undeniable, tangible impact on my own or others’ experience. There is no formula here so much as existential integrity: to be fully embodied in this charged and sentient universe means unblinkingly re-uniting cold scientific law with the hot prophetic imagination.

I began my journey with this current series of works (“Mother Goddess Muse”) on a day when my daughter Tasya, then about four years old, and I decided to take a walk at a nearby forest. Her truly vivid experience of the outdoors reminded me of why I enjoy walks. She picked up leaves, and flowers, and looked to find a way to hold on to them. A flower press was the first means by which we started to preserve them. Tasya did not want to press them, because they would then be flat and not true to their state in nature.

In the woods and elsewhere we would also sometimes find feathers, pea pods, shells, small bones and other records of varied plant and animal lives.

So at the most immediate level, my present work is a journal representing the botanical life that we encountered together on our walks. But more archetypally, the inherent personality of each leaf, blade of grass or other item began to resonate with the purpose and larger whole that formed our daily experience.

The process by which shaping this work has for me revealed the layers of aesthetic possibility also affirms the specific function of the artist as an unstoppable explorer. Linking the natural world with its correlates in autobiography allows art to be a force which can drive all of our futures – individually and collectively.

The work as a living process steadily reminds me that our innate connectedness with the world and cosmos around us manifests elegance and grace. By anthropomorphizing the world’s inherent rich order and beauty, I aim to make more recognizable and human such grace and dignity along with the semi-representational figures.

Additionally, such a primacy of biological elements in both art-making and finished work can make available to us the reality that all life forms, including our own, are components of a larger organism: specifically, our first mother, the earth.

Commercial forces sentimentalize and trivialize such realities as “Mother Earth,” “Father Time” and related archetypes. Artistically declaring the centrality of these realities can therefore reinvigorate and heal our increasingly co-opted and de-sacralized world.


Worlds Connect


Exploration into the cosmogony of various traditions and the “traditional” role of mother figures.   A continuous series of mixed media work utilizing an identification badge format.


These are my people


A series of twenty small works on paper depicting designs found in native regalia.




A series of eight small commissioned works utilizing paint, sand and crystals as part of an investigation on the concepts of “radiance’ and coastal dichotomy.





Behind this ripening


A series of fifteen paintings utilizing three dimensional "underpaintings" and the human form as a map for “organic” objects in narration.

 CT Herbal Institute

1991 University of Connecticut, West Hartford campus- Solo show

1990 Bard College 

Artist Statement