I was born in NYC in 1944 and have been working as an artist all my life. Concerns motivating my work question the nature and meaning of art and life itself, as concepts meet reality and meaning looks for language.

While I have always worked as a painter, in 2 and 3 dimensions, during the early 1970's I was also an early pioneer in the public art arena. To realize an art-for-all philosophy dear to my heart, I distributed several series of printed works, "Accumulations", both as mailings, and directly, with the help of a team of artists, at specific locations in New York City. My goal was to generate unfiltered responses to art through unexpected encounters. (see Village Voice article, 10.1.70; NY Post interview, 12.14.71)

In 1971 I was honored to have been invited by Buckminster Fuller to be one of 5 artist participants in his “World Game Seminar” (NYC), an effort to prioritize and explore ways to sustainably meet humanity's needs globally. During the 70's and 80's I was also invited to contribute work to various exhibitions, both in the U.S. and abroad, notably: Los Angeles Institute of Contemporary Art, Women’s Graphic Center, LA; Franklin Furnace Archives, NYC; Wabash Transit Gallery, Chicago; Image Bank, Vancouver; National Research Library, Ottawa; Metronom, Barcelona; in New Delhi and Australia; and to an exhibition of the letters of Ray Johnson (with whom I maintained an active art correspondence) at the North Carolina Museum of Art.

During the 1990’s which, in retrospect, seemed a period of great flux and changing attitudes and values, I stepped back from my work to consider the core meaning and essential function of art in my life. The result is an on-going series of reflective self-portraits and subsequently, the broader dialogues of the transfer/watercolor paintings represented here.

These very small and enormously introspective paintings, which I have been working on over the last 6 years, mark a radical shift in my work in terms of media, size, approach and content. In other words, in almost every way.

As the narratives accumulate, I see I am responding to deep feelings about mankind's capacity to embrace life in all its diversity. Exploring issues of conscience and will, the tenacity of our frailties and the precarious fragility of Life Itself, they become, for me, little meditations... singular in their focus, broad in their evocations, direction and purpose.

The function and intention of their size hold particular weight for me also, as I feel it is exactly in their smallness that they gain their strength.

Countering the long dominant perspective in art, which asks the viewer's eye to focus out, these paintings instead demand an intimate relationship of the viewer... one in which the eye is asked to focus in on the painting.

The subject matter and introspective nature of these works seem to me to make a particularly relevant statement at this point in time.