I received my BFA from the Cooper Union for the Advancement of Science and Art in 1976, a painting and printmaking major. After graduation, I worked at Bob Blackburn’s Printmaking Workshop in New York City, until I bought a press and set up my own studio on Union Square in 1982. I moved to New England in 1991. My studio is now in a renovated factory building in Easthampton, Massachusetts.
My color etchings are triggered by things I observe: a color or texture, a slant of light–especially those that evoke memories. I am fascinated by the quality of light at night, and by the shapes emerging as my eyes adjust to the darkness. My layered technique, with its possibilities for rich color and dense blacks, lends itself easily to night scenes.
The four color plates are printed sequentially, “wet on wet,” producing secondary colors as well as browns and grays. The ink is pressed under great pressure into the fibers of the dampened paper, resulting in rich, dense colors with a look that is unique to this medium. I work on the color as I see the proofs, re-etching and scraping and burnishing until I’ve achieved the colors I desire. Each plate has a full range of values, from light to dark, and when overlapped the diversity of color is virtually limitless.
Through the years, my images have evolved from still lifes and interiors, to city scenes, and, after my move to western Mass., to landscapes, and factory buildings like the one that houses my studio. I am interested in history, change, light and mystery. The crumbling factories represent a bygone era, a reminder of both its majesty and despair. I am now interested in incorporating figures into some of my work–and evoking the world outside their windows.
My etchings are in the permanent collections of the Brooklyn Museum, The Corcoran Gallery of Art, The Boston Athenaeum, The National Museum of Women in the Arts, and The Museum of the City of New York, among others.