136th Annual Exhibition

Unconscious Ascent expresses a time when your mind has suspended reality, a time of transition that is impossible to replay. It is that fleeting moment when one questions if it is a dream or something beyond. Fragmented elements move in and out of focus with a veil-like quality, beseeching further exploration.

The Italians call marble the "tears of the gods". It is an elegant material to sculpt, as it allows expression from the most delicate to the monumental, highly polished to natural texture, allowing light to penetrate and emanate from its surface. I enjoy shaping such a hard material as marble into sensuous, flowing forms that suggest the human spirit. When I leave elements unfinished or the natural stone the viewer is invited to complete sculpture in their mind’s eye.

This piece represents the soulful city of my youth, Calcutta; city of joy and sorrow, watched over by cacophonous black crows, colorful and gray all at once

Uncertain times, shifting perspectives and the need to rebalance in a challenging terrain

Walking on Boulevard East in Weehawken, NJ watching NYC disappear and reappear as the fog rolled in.

It’s an exercise in Neuroscience of human taste through the collage with paper cut from delicatessen catalog. For instance, a visual image of black caviar on salmon papaya evokes taste buds memory, which connects to facial nerves and elicits grimaces and salivary secretion. Would you like to taste?

My work explores the intersection between natural and human-made worlds through abstract compositions that channel emotional resonance. Drawing inspiration from the Blue Ridge Mountains and urban environments, I translate landscapes, shifting light, and vibrant color into layered paintings that feel both universally familiar and deeply personal. Each piece emerges through a dialogue between intuition and technique. By applying layers of pigment, wax, and charcoal, I establish tension between depth and flatness within the same canvas. This exploratory process invites viewers to contemplate their connections to both natural and constructed environments, and the beauty present in each. My approach has evolved to embrace greater spontaneity while honoring foundational materials and processes. I aim to capture the raw energy of landscapes while exploring the human experience within each scene. By allowing materials to intermingle unexpectedly, I create expressions that speak to our shared desire for awe and elemental connection.

I explore the thought process revealing multilevel reflections of my inner self. My artwork addresses the collaboration between nature and culture by abstracting movement, force and tension.

A visit to the Art Institute of Chicago where I enjoyed viewing pieces of art that depicted food inspired this painting as did my love of gastronomic delights like this piece of cake. I work in colored pencils because they lend themselves to the expression of my realistic style as detail work is possible. Color can be vivid, as the pencils have the intense pigment of oils combined with the transparency of watercolor which allows for layering. Food art like this should make you hungry. Finally, I want the viewer of my art to say, “That’s colored pencil?” And yes, I ate the cake!

My creative passage has taken me from a realistic, almost classical representation of the human figure, towards a surrealistic world of figures and imagination where everything is possible as reality and fantasy merge. My current work consists of mixed media assemblages, acrylic paintings on canvas and some drawings. This piece is very personal, it is a portrait of my aunt. It consists of two images of her, one young one old and a variety of objects that remind me of her.

I have been working on a multimedia series of collages since 2024. In this picture, I used an etching press to print templates constructed from handmade paper. I then pasted these images together to create this "monoprint collage". The title is from a haiku by Koshigaya Gozan.

The Talisman series began as free experimentation with watery acrylic and ink on paper. Gradually a central portal or entity emerged. In Talisman #8, I also used molding paste for texture and the application of a linoleum block.

I am attracted to both the flow of fabric and the elements of construction that transform an unstructured surface into a sculptured form that fits a human body. Seams, edgings, buttons, zippers and all the other ways that cloth becomes clothing find their way into my current body of work. Like an abstract painting, my work emerges from a process of deconstructing and then reassembling the fractured elements from my collection of discarded clothing.