Born 1956; painting since 1964, printmaking 1971, photography 1974. Ruined wrists made me go digital.
BA 1978, fine arts, printmaking, Haverford College, Haverford PA (art history and printmaking, Bryn Mawr College); studied with Fritz Janschka and others. MFA 1989, printmaking, California College of the Arts, Oakland CA
Awards: Awarded Best in Show, 1986, Triton Museum of Art printmaking and drawing annual, George Rivera curator, Santa Clara, CA. First Place curator’s award, Eureka CA photographics exhibition, 1991. Third place curator’s award, Arts Clayton, Jonesboro, GA , April 2017 First place curator’s award, Arts Clayton, Jonesboro, GA , October 2017
Exhibitions (group except as noted): Aug 1982 Focus Photographic Exhibition, SF CA Jul 1984 New College of CA Gallery, SF CA (with Willa Briggs, Mark Bulwinkle, Erin Goodwin-Guerrero) Jan 1985 L.A. Printmaking Society Oct 1985 Point Gallery, SF CA (one man) Nov 1985 New College of CA Gallery, SF CA (one man) Dec 1985 Comfort Gallery, Haverford PA Feb 1986 Footworks Studio, SF CA Mar 1986 Light Sensitive 7, University of Florida @ Gainesville May 1986 Lillian Paley Ctr for Visual Arts, Oakland, CA Jun 1986 Triton Museum, Santa Clara CA Jul 1986 Pacific Art League, Palo Alto CA Oct 1986 NEXT corporate gallery, Sunnyvale CA (Steve Jobs ordered the work removed, his curator called me apologizing, I guess it’s a distinction of sorts)
Jun 1987 Crocker Museum, Sacramento CA Jun 1987 Marin Arts Guild, Larkspur CA Aug 1987 E.G. Gallery, SF CA Sep 1987 Pacific Grove Art Center, Pacific Grove CA Feb 1988 The New Art Place, SF CA May1989 Old Oakland Gallery, Oakland CA Oct 1989 Gallery 601, SF CA Jan 1990 Ambiance, Eureka CA May 1990 Pacific Art League, Palo Alto CA Jun 1990 Ambiance, Eureka CA (one man) Sep 1990 Warner Roberts Gallery, Palo Alto CA (one man) Apr 1991 Eureka Photo Annual Exhibition May 1994 Comfort Gallery, Haverford PA Nov 1995 Pro Arts, Oakland CA May 1996 Pacific Printmaking Exhibition, University of Hawaii @ Hilo Mar 1998 The Photography Gallery, Indianapolis IN (one man)
Apr 2016 Ellington-White Contemporary Gallery, Fayetteville NC Jul 2016 Site: Brooklyn, Brooklyn NY Sep 2016 Hapeville Museum, Hapeville GA Oct 2016 Williamsburg Historical Center, Brooklyn NY Apr 2017 Arts Clayton, Jonesboro GA (Juror’s award) Sep 2017 Hapeville Museum, Hapeville GA Sep 2017 SE Photography Center, Greenville SC Sep 2017 Atlanta Photographer’s’ Group, APG Buckhead, Atlanta GA Oct 2017 The Photo Show, Arts Clayton, Jonesboro GA (awarded curator’s First Prize) Oct 2017 Providence Ctr for Photographic Arts, Providence RI (Julie Grahame, curator) Nov2017 SE Photography Center, Greenville SC Dec 2017 Atlanta Photographer’s’ Group Holiday Show, Atlanta GA Jun 2018 BG Project Space Gallery, Santa Monica CA Nov 2018 Novel Experience, Zebulon GA (one man) May 2019 Danville (Virginia) Museum of Fine Arts and History (one man)
It’s a calling. I make prints from photographs of statues of women of the past. They felt joy, grief, fury, terror, love; research reveals who they were, what this moment was. Some were famous, many anonymous. Most are in cemeteries.
After 45 years making original screenprints from my photographs, during which I'd photographed live models in black and white, now I photograph marble, bronze, or granite statues (sometimes terracotta). They don't move when asked, so I must find the vantage that best reveals them. I’m often on my back on gravel or mud, finding their gazes, or the camera is on a boom, an assistant clicking a remote shutter trigger (there are a LOT of unusable images). Several views are frequently combined, even as we combine views of sculpture in our minds to comprehend them.
I used to use B&W film, sheet photo litho film, and photosensitive silkscreens; now, it's digital printing on the BFK Rives paper I used when hand pulling prints, folding in everything I ever learned about printmaking, composition, light, and texture, and all about the figure that I can glean from the last 500 years of art history (Roman work will be included presently).
What does it mean to bring them to life now? We see the attitudes of the past reflected in their situations, their stories, and see how culture, roles and views of women have changed while human beings have... not so much. A piece is finished when my breath catches; my stone muse has come alive, there’s an illusion of faint motion. I hope you can’t stop looking at them. They deserve remembrance, and celebration.