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Raised in New Jersey and trained there and in New York City, I began my painting career working from observation and then abstractly. After moving to Oregon in 1977, Western landscapes have been a continual source of imagery in my work; real canyons have replaced the concrete and steel caverns of the city. The once-architecturally inspired abstract forms that reflected the experience of living and growing up in the New York area have been transformed over time into the architectonic shapes of high desert and coastal rock formations and the openness of the seemingly infinite space. Light is used as an element that creates a sense of expectancy—a waiting for some drama to unfold with the viewer being the solitary witness to that event and time.

In art school, I studied as a textile designer as well as a fine artist and worked for several years in New York’s Garment District as a printed fabric designer. One of my original designs during that time was the first printed repetition of the splatter, distressed jeans look; it sold thousands of yards, was printed on every sort of material imaginable and made into pants, shirts, skirts and the like—“ready-to-wear Pollock.” Even though my subject as an artist since that time has focused heavily on landscape, atmospherics and the fixed vs. the far-reaching gaze, the pull of pattern and fractal repetition has been a reoccurring interest in my work and conceptual development.
I have an eclectic interest in design and reference the repetitive structures and motifs of Italian Renaissance decorative arts, Native American art and Byzantine mosaics in the work.