After spending the first thirteen years of my life in the eastern half of the United States, my family moved to Seattle in the summer of 1970, where I still reside.
I Started my fine art training at Cornish College of the Arts in 1977. In 1979 I gave birth to our daughter Laurel, after which I continued my studies in painting at the School of Visual Concepts, graduating in 1984.
In the early 1990's I started learning the scenic arts by apprenticing to the Master Scenic Painter at Seattle Children's Theater for two years, and then went on to work for many theaters in Seattle, in addition to two plays for the Honolulu Theater for youth, and one glorious summer at the Edinburgh Fringe Festival in Scotland.
I spent a few years studying various printmaking techniques at Sev Shoon Studios in the early 2000s, then continued my interest in printmaking by taking Letterpress classes at the School of Visual Concepts from 2012 - present.
I still design and paint for the theater when the right project comes along, and in addition to my printmaking practice, I have continued to paint and exhibit widely in the Northwest (as well as in New York City, Spain, Switzerland and Germany) for over 30 years.
My most common medium is reverse oil painting on glass; but I am also an avid sketcher and often bring watercolors along with my pencils whenever I travel as I find it a more satisfying way to capture memories than just taking photos.
Also, I have been working to learn printmaking for many years now: linoleum block, monoprint, etching, and letterpress; a discipline for which a certain measured precision is required, and which I find to be a nice contrast to the immediacy of painting.
When I have an opportunity to design & paint sets for theater, it's stimulating to leave the solitary existence of working in my studio sometimes, to get out there and be part of a team working together to bring a project to life.
I am interested in stories, in the way we think about ourselves and how that manifests in our communal folklore and mythologies.
Our common pool of imagery and symbol are the potent tools for communicating that I use in my work.
I often use animals as surrogates, or employ various visual twists and odd combinations to draw the viewer in, and to engage their imaginations towards, what I always hope will be a fruitful conversation.