about the artist

Early life/education

At the age of 6 the artist part of me was thoroughly discouraged. By my own mother. (she was an oil painter.)

We were all painting roses (my first grade teacher was there) in our backyard. (Long Island, 1952). My mother saw my picture and yelled, “you call that a rose! I’ll show you a rose!” She held up a very boring picture.

At 16, we moved to a tiny town in central Florida. My father was ill and New York was too cold. It was at this time that I was allowed a space in the house to use as an art studio. I went to the closest town (26 miles away) and bought paint, brushes, an easel, etc. I painted every day-from life, from pictures, from my head. I actually sold some things. My first self portrait was a still life. A bottle of Chiante and bagels. (I am half Italian Catholic and half Austrian Jewish).

After high school I wanted to study art. My parents forbade this choice and would only help me financially if I became an English teacher. I did receive that degree and went on to have many different jobs, none of which involved teaching English.

By 1975 I realized if I was to continue painting I needed some formal training. Colors were not behaving and my drawing was strange. I applied to the Atlanta College of Art and was awarded a Ford Foundation grant to study. It was here that I met Anthony Greco. He was a major influence on my life. He was kind, generous, funny, and a brilliant artist. Before I graduated, we traded pieces. The piece of his that I chose is with me today and remains my favorite possession. He told me that becoming an artist would not be conducive to an “easy life.” He was right. Every job I’ve ever had has been in service to this journey.

The teachers in Atlanta were good. I remember “Doc” Billings. He had been a real medical doctor at one time. He taught me Portraiture. I did a portrait of him. When he passed, I gave it to his daughter Catherine. She liked it.

If I’m telling you about my background, it was around this time (1972) that I first discovered meditation. I was 26. This practice connected me to something that was important. I still do it and it still is.

In 1982 I received my MFA from Queens College. There were three people there that influenced me the most. Harold Bruder was a fine draughtsman. He was also a really fine painter and a wonderful teacher. Louis Finkelstein was wise in all things color. We called him “Uncle Louis” with the greatest respect. Rosemarie Beck was about persistence and beauty. She was a role model for many of the female painters. All things considered I feel extremely fortunate to have met such incredible people.

work

Still life has always been my favorite genre in painting. (I do figure and portrait work but rarely.)

There is something about the object in space. It is never just an object. It exists as color, size, shape, weight, symbol, ad infinitum. “Things” can be arranged. Meanings attach to objects and expand beyond them. Still life painting involves a language all its own.

Though I do pen and ink drawing when away from my studio, ordinarily I don’t do preliminary sketches. I paint what I see; and this changes as I continue to observe. My vision is informed by my feelings.

Balance is vitally important. Color is relative and must be given freedom. A large part of the creative process is the ability to allow it to occur.

Major historical influences

Giotto – clarity of form, color

Cezanne – composition

Robert Henri – boldness of color

Bonnard – Powerful, visceral, joyful color

Matisse – color and movement

Fairfield Porter – light

Alex Katz – simplicity, scale

In closing

Through the years my work has been seen, enjoyed, and sometimes purchased for both private and public collections. Queens college owns 7 of my pieces. “The Amaryllis series”

My favorite collector was a pediatrician who lived in Pennsylvania. He purchased a piece called “Babies in Boxes.” Little rubber dolls squished into small oddly shaped cardboard boxes. Might have been a social statement. Funny.