Art has been an integral part of my life going back to my early childhood years. It’s always been a source of joy, and also it has been my profession for about 15 years. I have painted many series and exhibited across the US, with work placed in collections around the globe. I have painted in several genres, as may be seen on my portfolio page, and there is an underlying common thread to all of these which is the exploration of our universal connection and energy.
My interest in the concept of “One-ness” was solidified years ago when I read transcendentalist Ralph Waldo Emerson's "The Over-Soul". And as I went forward learning more about Native Americans' understandings, and the compassionate teachings of the Dalai Lama, and Quantum Physics, then the concept of "ONE-ness" continued to solidify as realty in my mind. Of significance, in more recent years, I came upon the scientific “string theory”, the idea that minuscule strands of interconnected energy create every particle and force in the universe. I adopted this as truth: we are all ONE, infinitely.
This concept of universal connection became so much a part of me, that it naturally also became integral to my art. While that has expressed itself in various forms, it is always there.
Presently, in my abstract paintings, I use paint to give form and color in aide to my investigation of shared energy. As the seer I’m curious to know about the spectacle —the tiniest of particles binding us together. My recent paintings imagine these strands enlarged and illuminated. My past abstract works also share their focus on our energetic connections. The earlier abstract work was somehow more structured, where I pushed energy to the edges to make open spaces to breath in the center; it was akin to meditation. These more organized works developed into loosely arranged pieces, like dancing energy with pauses. Then they developed organically with spills and drips taking on the character of strings. By pouring and dripping, and by lifting flat canvases off the ground to tilt them, layers of paint are reminiscent of the loops and strings that I imagine are inside of everything.
This concept of our universal connection has wended its way into my paintings for many years, including in my representational pieces, as evidenced in my figurative work where a nude model connects with something much larger than herself as she is bathed in sunlight. Or in my series of beach people who are lit up with light and color; they are immersed in their aura and light around them. Similarly, in my paintings of anthropomorphized barns and houses, I aim to show a sense of warmth and connectedness through the sunlight and moonlight. Furthermore, my landscape paintings explore our connection to something greater than ourselves. When I’m outside in nature, taking in the symphony of all that is there, I feel an undeniable sense that all is connected-—land, sky, water, and life.
In support of developing my interest in painting, together with string theory and the understanding that we are all “tied” together, lately I have been taking photographs of strings found in environments around me. When I walk the beaches, I am drawn to strings and tangles of rope, especially as they are set off by strong bold areas of color. I am a colorist and am particularly interested in large areas of color interrupted by tangles or other smaller happenings. I am interested in calm vs. chaos, booming sounds vs. smaller complex twangs.
My interest is color has been lifelong, and going back to my grade school days, I was hugely drawn to the German Expressionists. Fast forward to college, I wrote my thesis about Wassily Kandinsky and synesthesia, a way that art is informed by music....the idea that one can paint music and that sounds have corresponding colors. To this day, music, the universal language and another connector, is integral to my painting process. Thinking back, I now see how my interest in art has always been about energy. As an adult, when I sought to study with artists whose work grabbed me, I nearly always studied with artists who had a connection to Hans Hofmann. I am excited about work that comes from the gut...work that is colorful, energetic, has push and pull. Work that creates a visceral response.
I live near Boston, MA primarily but also paint on Shelter Island, NY where my family has been rooted for generations.