About the Artist


Errors and Omissions, Leonard Pearlstein Gallery, Drexel University, Philadelphia PA

Deadly Weapons, site specific installation, Eastern State Penitentiary, Philadelphia PA

Making A way, South Bend Museum of Art, South Bend, IN & Salem State University, Salem MA


2020 Foundation for Contemporary Art Grant
2019 Harvard Law School Negotiation and Mediation Clinical Program Art Award
2019 Ruth and Harold Chenven Foundation Grant
2017 Pollock-Krasner Grant
2017 Puffin Foundation Grant
2015 Artist Resource Trust Grant
2015 Fdn For Contemporary Art Emergency Grant
2015 WSRC Project Grant
2014 Resident Scholar – The Women’s Studies Research Center, Brandeis University
2014 Feminist Art Base, Brooklyn Museum
2014 Miriam Shapiro Archives, Rutgers University
2013 Artist Fellowship Massachusetts Cultural Council


Out of Place
Fountain Gallery, SOWA
Boston, MA

Salvage Art: No Longer Art
Museo de Arte de Zapopan, Jalisco, Mexico

We the People
Cape Cod Museum of Art
Dennis, MA

I Read the News Today, Oh Boy
Brickbottom Gallery
Somerville, MA

Peace & Justice
Delaware State University
Dover, DE

Connections:Fine Arts Work Center Visual Fellows
Cape Cod Art Museum
Dennis, MA

Clark University
Worcester, MA

Brandeis University
Waltham, MA

(Solo Exhibition)
Human Rights Institute Gallery
Kean University
Union, NJ

UP IN ARMS – Taking Stock of Guns
Brattleboro Museum
Brattleboro, VT
June 24 – October 23, 2016

I was born in San Francisco and grew up outside of New York City, in Montclair, New Jersey. I come from a family of modest means. My father was a news photographer in the military and left both professions for factory work when I was about two years old.  Coloring books and paint by number sets were my only exposure to art until I was mesmerized by Michelangelo’s Pieta at the 1964 World’s Fair in Queens, New York. In 1968 I began studying mathematics at Bradley University in Illinois but after one semester, encouraged by friends, I changed my major and entered the College of Art. At 18 years old I walked into my first art class and found my passion.  Since then this passion has defined my life.

Graduate school in Amherst Massachusetts is where I began to find my voice as an artist.   I was transfixed by the color and texture of the natural world around me and started to reference the landscape in abstract, intricately detailed geometric work. Large areas of mark-making with colored pencil, graphite, oil pastel and pastel, over thin veils of acrylic paint, replaced the heavy paint layers of my earlier canvases.  Drawing became a more integral part of my process.In 1978 I was awarded an eight month fellowship at the Fine Arts Work Center in Provincetown Massachusetts.  Looking closely at architecture in the landscape, my new images incorporated elements of the built world. It was in Provincetown that observational drawing became a regular practice for me.  Upon returning home to Northampton Massachusetts in 1979, I became immersed in a large public art project with the Hestia Art Collective. We researched, designed, and then painted a 3600 sq ft outdoor mural depicting the history of women in Northampton. Funded by several art and humanities grants, the painting was awarded a Governor’s Design Award in 1986 and was restored by the community in 2004.

I moved to New York in 1980 where jobs at the Whitney Museum and the Blum Helman Gallery gave me immediate access to cutting edge contemporary art. While in New York I made my first trips to Italy in 1983 and 1984 and spent weeks looking at paintings by Giotto, Fra Angelico, and Piero della Francesca.  A year later I moved to Boston.  In 1993 I spent a week in the old city of Pompeii with a group of cultural anthropologists studying household shrines.  As they measured and mapped, I sketched the niches and mosaic designs adorning the ancient walls and became fascinated with a large floor labyrinth in one of the houses. This initiated research into cross cultural symbols, which I investigated in more personal narratives entitled Internal Landscapes.  I began using supports like gypsum board, mulberry paper, and limestone for work with, graphite, oil paint, watercolor and egg tempera.  In addition to their appealing physical properties, they referenced traditions that informed my art.

The marriage of form and content continues to define my practice. I work with gunpowder and graphite, gouache, blood, embroidery, monoprinting, cut and woven paper as well as three dimensional installations to visually explore issues of social concern.