Medium: Archival ink jet print
“These leaf images are part of a more extensive wall of leaf images, itself a part of an even larger installation, “Traveling into View”, my eclectic response to an artist residency at Monte Azul Center for the Arts, in Costa Rica. My three-week stay in this exotic wonderland prompted a wide range of pictorial strategies in an effort to express the intensity and diversity of what I was experiencing. Along with the leaves, I also presented a straightforward image of a Capuchin monkey, as well as an abstracted view of the rainforest photographed as it was reflected in a sheet of reflective Mylar. But I had a special affection for the leaves and their oversized distinctive beauty, as I isolated them from the vast and abundant landscape they were a part of and chose to present them as individuals, in a portrait gallery of their own.”
Medium: Watercolor on paper
“I have always been drawn to the natural world as a subject of my work. Distilling the space, light, and atmosphere of a place is constantly challenging. Painting a location forces you to truly embrace all of the individual elements in an attempt to translate its personality to the viewer. Once I have painted a landscape, I feel I know it intimately and have internalized a small fraction of its uniqueness.”
My fascination with natural forms emerged early in my artistic life, when I was taken with rendering the sky as a landscape. I was influenced by a painting professor who one day declared that we would go outside and paint watercolors of clouds. Great clouds were rare in Southern California and it made me appreciate their constant evolution — at times both solid and transparent, able to absorb and reflect light and the energy of the sky.
Medium: Two color lithograph
“I’m quite willing to sacrifice fidelity to the subject to the vitality of the image, a sensation of the quick, lively blur of reality as it is apprehended rather than analyzed. I like to work on that borderline – opulent beauty in a homespun environment.”
From a 1985 interview in ARTnews.
Medium: Archival pigment print
“Having been educated as a painter, I find photography to be liberating in that it brings me out of the studio and into the world. It then allows me take a little bit of the world back into the studio. The “studio” in this case is less an actual, physical place than it is a workflow. I begin by taking the photograph with a medium format film camera. The negative is then scanned to a digital file and brought into Photoshop for “development.” For the final look of the photograph, I consider the place photographed and also how it is filtered through various looks such as nineteenth century landscape painting and twentieth century tourist photography (both by tourists and by “experts” taking photographs for magazines and travel books). The result is mix of place, nostalgia, and technology.”
“In present day, I spend much of my time in upstate NY where my inspiration comes from time spent in the woods around my house. There is always something to paint if one takes the quiet time to just look at the space around them.”
I grew up in Virginia and spent much of my childhood around water. Our family would spend every weekend on our small Boston whaler fishing and crabbing on the Chesapeake Bay. For Halloween I would always want to be the ocean. I know, but what can I say? It was the ‘60s. One of the requirements for the portfolio to get into art school was to illustrate an inspiration that compelled me. I drew myself sitting on a rock in the middle of a river. Being in and observing nature is art to me.
“I knew that Fahnestock was a special place of peace, beauty and retreat for my husband and his family over many, many years. In this photo, I was trying to capture that timelessness and perhaps, special memories.”
I always seem drawn to the Metropolitan Museum of Art. While there, I return again and again to Picasso’s portrait of Gertrude Stein. It is soulful and insightful, so expressive.
Medium: Archival pigment print
“In Wailua River, I approach landscape as both history and culture. In a singular image, the trajectory of the Hawaiian islands comes to the fore, especially through the various modes of transportation that traverse the scene. These vessels and their inhabitants have transformed the archipelago from the first arrival of Polynesians to the most recent tourist visits. Each journey made along and above this waterway reconnects the present to the past.”
My work frequently brings me to unexpected places. Whether I’m in New York City or across the globe, discovery fuels my practice and is the experience I hope to convey through pictures.
Medium: Wall mural
“As a designer, you dip into different feelings at different times. A trip to India, a Matisse painting, northern soul - all these things have influenced me.”
From The Guardian, 2004
Medium: Woodprint with metallic inks on paper
“I often find inspiration in various places. Sometimes it strikes while researching topics online, or while hiking through a forest in the Catskills, or stumbling blearily through the house to go comfort my daughter and I notice the shadows cast by the trees on a moonlit night, or simply while laughing and talking with good friends.”
Medium: Hand-cut Swiss phone book
“Using phonebooks from places I lived is for me a way to investigate the surrounding world and in the making, try to make sense of my place in it.”
My inspiration comes from the everyday, the world around me. I find respite in nature.
“I try to accentuate the emotional impact of color and a simplicity of composition to invite the viewer to attend to deeper layers of meaning in the photograph. My goal is to “liberate” rather than “capture” the moment. In this piece, there is an inside/outside duality that is combined in the singular image.”
My work represents a broad range of imagery, mostly because there is a lot to which my eyes respond. I have had the good fortune to travel widely in pursuit of my artistic vision throughout the United States, Europe, Mexico, Japan, Bali, Tahiti, and South Africa.
Medium: Watercolor and mixed media on paper
“(I am interested in the) perception of the light in the moment that I start to paint, by the humidity in the atmosphere, and by the smell in the air. I worked outdoors on these pieces and finished them in one session, never re-touching them in the studio.”
I visit the Metropolitan Museum of Art frequently and I often pay a routine visit to my “friends” there: eighteenth-century Dutch landscapes, Rembrandt’s portraits, the Vermeers, the East Asian art section, and some specific pieces inside Pre-Columbian section (Colima and Nayarit) and the Arts of Oceania section.