Im-Press-ive Women

I am both a professional musician and artist. I experience life as having order as well as disorder through sound and sight. I create art along with music. The execution of the painting/print therefore becomes a personal performance, as were my song recitals when I was singing professionally, the one difference being: I am not interpreting someone else's poetry - I am creating my own in color and shape. Phone Number: 203-899-7999

Remnants of the Past is a series rooted in historical fragments, where photo etching becomes a vessel for memory and quiet testimony. Using archival imagery as a guide, I rework moments from the past that might otherwise fade into obscurity. Figures appear suspended in time, rendered in sepia tones and softened edges, evoking the way history lingers not as a fixed record but as an emotional residue. The recurring train setting functions as both a literal and symbolic passage. It speaks to movement, migration, labor, and the unseen lives that sustained systems yet remained uncelebrated. This imagery was inspired by photographs I took of the historic Skunk Train, itself a remnant of a bygone era. Its weathered presence, worn surfaces, and lingering stillness became a visual and emotional catalyst for the series. Uniformed bodies, bowed heads, and intimate gestures suggest dignity carried under the weight of routine and restraint. These are not heroic poses, but honest ones. Through the etching process, I embrace texture, erosion, and tonal restraint, allowing marks to echo the wear of time itself. Each image functions as a visual remnant, inviting viewers to slow down and witness the humanity embedded within everyday historical moments. This series is an act of honoring. It asks us to sit with what remains, to acknowledge those who came before, and to recognize how their presence continues to shape our collective now. Phone Number: 203-899-7999

The Rowing Prints are a series of photo screenprints created to explore the sport of crew from the point of view of a rower and coach. They are derived from normal mundane images of regular practice sessions, mostly on the Hudson River at Poughkeepsie. The photos are then manipulated to create screenprints, and hand colored on the screen itself. When printed with a sheer black ink, I create images that are at once both realistic and nostalgic, which is the aligned with the experience of rowers who ply the waters of the historic Hudson River rowing venue at Poughkeepsie today.

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My skin monotypes are realized “coats of skin” that are initially molded over bodies of human collaborators and then flattened under a press. The flattened forms become templates that communicate skin patterns and uniqueness. I made them because from birth to death every human weaves a thread around herself-- a story, a shield, a chronicle of injury, trauma, vibration and pain as well as the belief of the existence of a spiritual entity, or astral soul, living within. Phone Number: 203-899-7999

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After a drive through a state park, I was inspired to make line drawings of rock formations viewed from the passenger window of the car. The drawings became the foundation for a series of relief prints on paper. The printed paper was then cut into and interwoven with sections of aluminum sheeting and photo transparencies made from vintage photo albums. Phone Number: 203-899-7999

This is the second in the series of "Watcher" images based on the symbol of the Mesopotamian Eye Goddess. I experimented with different types of paper, chalk as and ink. I consider this Eye Goddess image a representation of Mother Earth,-a mythical variation, who watches as humans desecrate the environment. Phone Number: 203-899-7999

This is one of many 'Moveable Collagraphs' that I’ve printed using cut shapes from many different textured and smooth materials such as sandpaper, tarlatan, magazine pages, string, cheesecloth and cardboard. I ink up the pieces, place them on a Plexi plate and run them through the press. Sometimes I will ink up the plate with color first and place the shapes on top or I will add Chine-Collé on top of the inked pieces. I almost always just do only one run through the press. In this piece I used sandpaper, tarlatan and cheesecloth on top of an inked up Plexi plate.

The light entering my studio fell on my face as I opened the blinds. A calm spread through my body as I held the glow and took a breath.

My current work is a documentary self-portrait as I go through pregnancy, childbirth, breastfeeding and postpartum. The multidisciplinary installation consisting of video, glass and breastmilk sculpture, as well as paintings and etchings, is a direct cry of motherhood pride and fragility. I viscerally address the taboo topics of motherhood and its untamed essence, and challenge societal perceptions, advocating for the rights and lived experiences of mothers. In my practice I dissect, peel, slice, unveil and reorganize extreme experiences to help me process the impacts.

Phone Number: 203-899-7999

I was creating a demo for my printmaking students on chine collé and decided to keep going on this tangent in my own practice. It can be very simple, but effective, as seen here in the monkey's face. Adding a piece of paper for a more detailed section and extending the paper to create a hard hat over the top of his head eliminated the need to carve another block, and made his face stand out from his body. Also, deciding to keep the space behind his face white, but include typeface in the hat area is a decision to consider when making choices for chine collé materials. The AP card was a real document that I added a paw print and signature to, and the camera was a Xerox collaged on, as well. A lesson for my students that I enjoyed learning from, too. Phone Number: 203-899-7999

Since the pandemic, I have been incorporating masks, braille, hair and materials of everyday life in monotypes to explore how we hide or reveal ourselves. This series, “Who Sees?”, explores the use of veils, masks, head coverings, face coverings in different cultures. How do we perceive women when they are veiled or masked? Are they disempowered or empowered? Do the masks/veils offer freedom or protection or bondage? The images that I create are multilayered, pushing us to delve deeper into this subject. “Who Sees” simultaneously draws you in and pushes you away.

Solarplate Etching printmaking technique was the medium used to create this piece. Through repetition and mirroring of a quick drawing depicting a dancing figure, the intention was to portray a movement, a dance. Women dancing in a circle, joyfully supporting each other, celebrating life. I utilized thread, a material traditionally used by women to mend or embroider, to emphasize the connections between the dancers.

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