When... the body of a woman is kept down, dominated, diss-cussed (sic), grabbed by, minimized and ruled by the same one who presides,
Then...the body of women is under siege.
This piece is a protest against the political and social chains of suppression, exploitation, denigration, harassment, abuse and governance of women. It is a protest against the tyranny of being defined and confined by our gender and controlled, as our current government promises.
When our then Presidential nominee publicly boasts about the ease with which he has sexually assaulted women and subsequently becomes elected to our top national office, then we, as a society, are endorsing dangerously abhorrent behavior and are giving permission for others to follow. The rallying cries of the recent “Me Too” movement and the preponderance of inappropriate sexual conduct by those in government and other positions of power, shed light on the extent of this hidden misogynistic problem.
Our dignity, healthcare, safety, security, family planning and hard won civil liberties are being threatened. Trump’s reactive agenda to dismantle women’s rights in the United States is clearly underway with the removal of health care, with plans to defund Planned Parenthood and reverse Roe v. Wade, with threats to punish women who have an abortion and with actions to weaken our constitutional separation of church and state.
Women, now is the time to break through the chains, step out of the shadows, speak your story and stand together in this battle to define your future and that of our country.
16" x 12" x 3" Mixed Media relief on painted stretched canvas.
This work was created when my only child, brimming with adulthood, was graduating high school and leaving for college.The seeds were sown, the ground was churning, things were spiraling out of control. The natural order was changing, not only for myself, my daughter and my husband, but for all the families of all those taking wing.
Call of the Running Tide
60" x 18" x 6"
This flowing, shimmering piece is layered with hand-cut applique over tulle which has been knotted, stitched and interwoven with a plastic matrix. Inspired by John Masefield's poem, "Sea Fever", it is a call to action to preserve our waters from the rising incidence of toxic red tides. Red tides are algae blooms that are poisoning marine life, birds and humans around the world. Fertilizers, raw sewage runoff and climate change have been linked to their epic growth.
We can act to preserve or destroy our life-giving oceans-it's your call.
44" x 12" (Plastic food packaging strips, tea fabric strips, paper strips, painted plastic grid, loose-leaf binder, plastic contact lens cases, on drawn wood board).
A fifth in a series of works about genetically modified foods, this work was inspired by food labeling issues, consumer's right to know and the holes in our labeling laws. Created from food packaging materials, and recycled, sheer fabric strips from a tea manufacturer, this piece appears as a beautiful, light, ethereal aesthetic despite its darkly sobering topic.
Everywhere we shop, we are bombarded by glossy, wholesome, good-for-you packaging claims that skirt the dirt on what really is inside our food. With genetically engineered ingredients and their potential toxic and allergic effects off the labels, consumers are being presented with an ornate, whitewashed, legal lie of omission.
The focal point of this piece is a naked foot, symbolic of all refugees as well as humanity. The foot is emerging out of a world of conflict and strife. It is juxtaposed against a sea of jagged wire and caught tightly between two hostile places, as if in a vise. My heart goes out to all those who must flee their homes and face the uncertainty of their new world.
13" x 11", (plastic strapping, hardware mesh, embroidery floss)
No chemicals! No lies! No worries!
The many well-marketed chemicals that have become sewn into the matrix of our suburban lives-- our backyards, lawns and golf courses-- have a huge and dangerous impact on our health and environment, despite their finely crafted appearance.
It's time to round them up.
Can You Hear Me Now??
8" x 8" x 2" (Hardware, lollypop sticks, gutter guards, electrical components)
This minimal piece is imprinted with the repetitive circuitry and collective experience of helping my mother to hear again.
With technology informing trial after trial, test after test, device after device, the sounds we all take for granted still kept eluding her dear, right ear until NOW.
Are You For or Against?
6" x 6" x 2" (Hardware, painted plastic , mesh, paper)
Are you for or against destruction....
of lives...of homes...of families...of dreams..
of water...of food...of sleep...of safety...of sanity...
of law...of civilization...of smiles of children?
Today's war is yesterday's war is tomorrow's war.
14" x 14" x 3" (Hardware, Hardware mesh, wood)
Stockpiled raw materials have a simple repetitive beauty to which I am drawn. They relate to the grid-based aesthetic, which I enjoyed initially as a child, creating patterns with my father's poker chips and later weaving designs on the loom.
In this construction of found objects, the eight blue pieces are like jewels to me. Since they are a rare find in recycled hardware, I created this piece to showcase them.
Illusion of Stability
11" x 11" x 3" (Hardware brackets, candle elements, wire)
The shocking September discovery that our symbols of power, strength and endurance could so easily and brutally be dismantled inspired this piece about 9/11. This grid-based construction, reminiscent of a skyscraper's infrastructure, seems at first glance, to be strong and solidly built. Upon closer scrutiny, its frailty is evident--it is literally held together by threads.
7" x 8" x 2" (Copper sheeting, melted pigment, hardware, wire)
Fringe Element was created during the months following 9-11. I had no conscious intention of addressing the still raw wounds of that day, nor did I feel capable of doing so. Working on this piece served as an escape and I worked non-directedly, allowing the creative process to unfold.
8" x 7" x 3" (Found objects, hardware, computer pieces, photograph, dryer lint)
In the nursery I see Elizabeth, my incredible one. Shy of five pounds, she is wired to monitors. She awakens in the crib--away from my arms.
She bellows her needs. The mean nurse says, "she is something". I touch her sweet baby, skinny fingers and know she is fine.
Now she is ten. She still is shy. She bellows... but look at how big and close to my arms! She sure is something!
10" x 10" x 2" (Coated, recycled paper, wire, hardware)
As a challenge, I decided to create a new piece that would be similar to my earlier work, Illusions of Stability, but would use coated paper from a recycling center instead of the metal hardware brackets previously used. Since it was not an easy task to measure, cut, hole punch and weave through double folded paper in both vertical and horizontal directions, I created a 5" x 5" mock-up first.
The title suggests that I thought the paper's properties were worthy of the task.
X Marks the Spot (Women's Collective Refrain)
15" x 15" (Hardware, Mammogram markers, plastic spirals, painted cotton, wire, hardware mesh on board)
X Marks the Spot
X marks the spot with a dash and a dot
And a dot and a dash and a big question mark.
Cut it out, stitch it back, with a prayer and a squeeze
And a big doctor's fee and a sigh of relief.
Of Light And Darkness
7" x 6" x 2" (Handmade paper, clay, etching, hardware, printed paper)
This duality--in all its nuances--expressed itself during a period of time in which I was considering the notion of becoming a parent at an age that was later than most.
The mirror on the "dark" side of the piece offers the viewer an opportunity to reflect on the subject.
If You Love This Planet
6" x 6" x 2" (Clay, wood puzzle parts, mesh, dryer lint, matches, text, hardware)
Why so carelessly do you create conditions of toxicity and adversity?
Why so selfishly do you jeopardize the natural wealth and safety of our global mother?
Why so forgetfully do you run from the mistakes of the past and the responsibilities of the present into the fragility of the future?
7" x 7" x 1" (Hardware, waxed thread, enamel, paper)
Red light, green light, 1, 2, 3.
Who walks the freedom trail with me? Whose hair is right? Whose walk is tight? Who won the right to be over me?
From One Bird To Another
8" x 8" x 2" (Wooden loom, hardware grids, metallic thread, wire, parakeet feathers)
For Georgie-Boy, my sweet singing, somersaulting, brilliant speaking, head standing, finger biting budgie, who literally flew into my life out of the skies one summer day at Jamaica Bay.
We had many joyous seasons of play, friends to meet and time to share.
And, who departed tragically, swiftly, ironically, as my new love--the one I had been awaiting--sang his song of seasons to come, softly into my ear.
11" x 11"
We all try to capture your elusive presence,
Mother of Invention
22" x 17" framed
Working with materials that I had on hand, including antique sheets of mother of pearl buttons, gave rise to the title and theme of this piece. Toilet paper. chocolate Easter eggs, shells and plant fertilizer sticks are brought together to create this woven, painted, sewn and collaged womb-like construction.
Trading The Forest For The Trees
6" x 6" (Hardware, photograph, paper, wire)
Duh! Are we plain ignorant, stupid, forgetful, shortsighted? Or simply so greedy that the rest of humanity is trampled upon save for a few trophies?
13" x 12" (Metal Binders, Bamboo, Enamel, Hardware Mesh)
This piece was inspired by light refracting off skyscraper facades taken from a photograph of Los Angeles.
The contrapuntal cadences of color, line and rhythm which define the piece, derive from my interest in combining visual art with elements of music.
8" x8" x2" (Paint, collage, hardware, wire, wood)
From generation to generation, person to person, hand to hand,
The beauty, warmth and comfort of a handmade quilt
10" x 10" x 2" (Hardware, bamboo, candle wicks, hand printed paper)
This dimensional piece was inspired by the same photograph of light refracting off skyscraper facades as I used for LA Rhythms.
What is interesting is how this work also relates to and perhaps unconsciously inspired Jungle Woman, an intaglio strip collage, I created a number of years later. All exhibit the same tightly repetitive, rhythmic verticality.
This interactive piece was a first for me. I created it in response to Ripe Art Gallery's Annual Valentine Challenge in 2016. The theme was I Like Andy. I chose to emulate Andy Warhol's factory style of creating art using several artists to work on one piece, as well as his grid-based portraits of celebrities. It was thrilling to see the work in progress. Crowds clamored with cameras to see how the piece was taking shape and to participate in creating it. See all the images done at the gallery's opening. Note: Aside from the before image, and a few initial marks made by me at the gallery to get the ball rolling, all the work on the piece was created by gallery visitors.
The artist and Color-A-Trump
Getting the ball rolling, at the Ripe Art Gallery opening reception.
Color-A-Trump (being colored by a gallery visitor)
Color-A-Trump (in progress)
Everyone was clamoring to see what was being drawn onto my piece by gallery visitors. This was a real happening!
Color-A-Trump (almost finished)
Bamboo Series- Mixed Media
Bamboo and hardware--wood and metal--two of the Five Chinese Elements. In this construction, industrial metal findings were pieced together and threaded onto thin bamboo strips. I do think that bamboo's strength, resilience, beauty and diverse applications are not recognized enough in our society.
14" x 15" x 1"
Bamboo Mantra (Sold)
The bamboo that invades my garden will sustain Mother Earth.
Bamboo Mantra interweaves the duality of a personal story (my frustration over a neighbor's advancing bamboo into my ordered garden) with a universal plea for the environment (the benefits and uses of bamboo are myriad; it is the most renewable, versatile plant known to mankind).
In this construction, bamboo strips are literally woven through a metal grid to become both canvas and garden. A metal chain link alternately weaves through--in a thwarted effort to contain the many shoots. When one looks closely, the layers of raw, repetitive text and truncated phrases scrawled onto the bamboo are evident. This represents the emotionally charged efforts of trying to control such a tenacious species. Ironically, this very quality gives bamboo its supreme value as a renewable resource.The transcendent voice of the mantra emerging out of the matrix echoes this view.
When seen from a distance, the image and message become boldly minimal. My garden is a microcosm of our planet. The bamboo is here to stay. How we view and use it is up to us.
15" x 14"
Bam Bam! is delicately woven together from recycled industrial metal and bamboo gleaned from an old Korean calendar. My piece addresses the dual nature of the North Korean culture and expresses concern about what they are creating these days. My wish is for them to make bamboo, not war.
12" x 13" x 2"
Bamboo Is the Better Choice
Mixed Media on Canvas
8" x 8"
Faux Weave II
Although many of my pieces are woven in construction, this one is designed to just look that way. Here, bamboo is contrasted with metal elements and hardware for a purely graphic look.
15" x 15" x 2"
Faux Weave I
This is the first of two pieces worked to achieve a look that resembles weaving, but is not. It was pure fun.
14" x 14" x 2"
Here is a collection of work created in response to a Facebook art challenge in March 2015. Although small in scale, these pieces bring me back to an era when I was creating large abstract expressionist paintings inspired by the beautiful land vistas in upstate New York.
Through the Beige and Bam!
Landscape in Blues and Greens
Acrylic, 12" x 12"
Through the Layers
Acrylic 16" x 20"
5" x 6"
5 1/2" x 6"
Prints and Drawings
Grid Variation Drawing 1
Mixed Media, 11" x 11"
Gelatin Monotype, 13" x 13"
This singular print was developed with pencil, colored pencil and pastel after being hand pulled from a homemade gelatin printing plate. It has a distinctly different relationship to the underlying grid than most of my grid-based work. Here, the elements are diffuse and uncontained, pulling away at the rigid boundaries that the structure imposes.
Grid Variation Drawing 5
Pastel and Mixed Media, 9" x 9"
Grid Variation Drawing 4
Mixed Media, 9 1/2" x 9 1/2"
Grid Variation Drawing 2
Mixed Media, 9" x 8 1/2"
Through the Window
Gelatin Monotype, 7 1/2" x 6"
This singular print was pulled from a homemade gelatin printing plate and then worked with colored pencil and grease pencil.
There is Light to Come
Mixed Media drawing, 11" x 8 1/2"
This piece was inspired by my pregnancy.
GMO Series- Mixed Media
These pieces reflect the horror, outrage and sadness I feel regarding the production, consumption and misinformation about genetically modified organisms. Despite living in a so-called free and democratic society, it seems that we are actually playing out an Orwellian nightmare--in which we are being pitted against a huge yet insidious corporate monster that is decimating the soil we live on, the water we drink, the seeds we sow and the foods we eat.
Into The Finely Woven Earth
18" x 18" Mixed Media-Woven, painted, texted
Our beautifully woven earth, once so clean and pure, now consists of so many toxic chemicals, industrial by-products, non-recyclable materials, environmental deceptions and corporate excuses for truth. This has become such a part of the very fabric of life that it is difficult to fathom its detrimental effect.
Cute little abbreviations for abominations continue and continue and continue. Can you read behind the smokescreen?
Blowin' In The Wind
17' x 16' x 4" Mixed Media relief
This work reflects the horror, outrage and sadness I feel regarding the production and consumption of genetically modified organisms (GMOs) and the societal apathy about its impending dangers. Despite living in a so-called free society, it seems that we are actually playing out an Orwellian nightmare, in which we are being pitted against a huge, insidious monster that is decimating the soil we live on, the water we drink, the seeds we sow and the foods we eat.
We are being told that GMO food is safe. But, the answer, my friend, is....
What We Sow!
8" x 8" x 4" Mixed Media relief
We have a right to grow crops from seeds untainted by Big Agriculture's venom. Herbicides, fungicides, pesticides and genetically modified seeds spliced with pesticide and other unknown elements have infiltrated our agriculture system.
We must tread carefully. The real snake in the grass is hidden in plain sight. Look closely to see what is really slinking through the ubiquitous green.
What will we reap when this our hands sow?
My Saints Oh!
My Saint's Oh! comments on Monsanto's genetically engineered seeds; spliced with the DNA of things alien and toxic (yet surprisingly appealing to the masses).
What will this seed pod give birth to?
Mixed Media with ceramic, 18" x 18" x 4"
Mixed Media Construction
Figurative Sculpture- Mixed Media
The human figure, as it reflects personal, social and cultural themes, has been a recurrent element in my work. Influenced by my love of tribal arts, the forms fuse natural and found materials with handmade paper, ceramic and woven elements. Although the impetus for these pieces comes from within, I endeavor to transcend purely personal symbolism to connect with archetypal themes and imagery.
This piece was inspired by the beauty and raw potency of Ashanti fertility figures and a connection to the pleas of womankind. In keeping with tradition, I employed age old techniques, such as weaving, sewing, braiding and papermaking, to construct it.
Mixed media, handwoven dress, handmade paper face and stomach.
18" x 10" x 4"
Through The Body Of Time
This was the last piece in a series based on Ashanti fertility figures.
Mixed media, ceramic head.
19" x 13" x 4"
This was the first of four pieces inspired by Ashanti Fertility dolls and my clicking biological clock. Traditional techniques such as weaving, sewing, braiding and papermaking were used to construct the figure.
Mixed media with handwoven and handmade paper elements.
19" x 8" x 4"
A third in a series of figures inspired by the potent and beautiful Ashanti Fertility Figures. She was created in response to the global body of women needing healing.
Mixed media, handwoven elements, ceramic face and hands.
23" x 12" x 6"
17" x 14" x 14"
Loop de Loop
Mixed Media Relief, 13" H x 13" W x 6" D
A Lesson In History
It could have been revered for its years. It would have enlightened the future.
It could have been saved for our dears. It would have needed mere sutures.
It could have paved paths to knowledge. It would not have needed revision.
It could have been time's friend forever. It would have, but, for spiritless vision.
Mixed media, ceramic head
8" x 7" x 7"
Necklace Pouches- Handwoven and Beaded/Bedazzled
I design and create these small, unique necklaces to hold crystals, charms, photos, amulets, business cards and dried flowers. Each is a finely woven, hand stitched, beaded/embellished, one-of-a-kind piece using quality yarns, beads, vintage buttons and other beautiful materials. They have been described as small gems. While unique to wear, they also can dress up your walls and are beautiful as furniture accents. They have been offered for sale in galleries including the BJ Spoke Gallery, Huntington, NY, Ripe Art Gallery, Huntington, Island Pottery, Mineola, NY, and Chimayo Gallery, Perkasie, PA as well as fine Juried Art and Craft Fairs.
Red, Black, Fuschia, Turquoise, Orange
Pearl Cotton, with bone beaded pendant and glass bead fringe.
Blue on Blue Necklace Pouch with Beaded Necklace and Fringe
Pearl Cotton with Glass Beads
Blues, Orange, Yellow, Green Necklace Pouch
Pearl cotton with glass and Swarovski crystal beaded warp and fringe.
Coral, Brown, Turquoise Necklace Pouch
Wool and mixed fiber embellished with feathers, coral, wood and glass beads.
Turquoise and Orange Necklace Pouch
Pearl cotton with glass beaded weft, fringe and collar.
Denim Blues snd Light Brown
Cotton Necklace Pouch, pictured with dried flower pods.
Sized to hold business cards.
Purple, Olive, Pink, Grey and...
(Sold) With crystal, jet, silver and rhinestone accents. 2 1/2" wide x 5" long, 25" chain and fiber necklace.
Black, Blue, Orange Necklace Pouch
Pearl Cotton with bone and beaded pendant and beaded fringe.
Southwest Woven and Beaded Necklace Pouch
Pearl Cotton with beaded top and bottom fringe.
Sea green, pale green, coral, pale yellow
Pearl Cotton with coral heishi beaded fringe and pendant.
Pearl Cotton. Glass, turquoise and silver beaded warp and fringe.
1 3/4" x 3 3/4" with a 28" chain and fiber necklace.
Pink, Lavender, Mint Green Amulet Necklace
(Sold) Pearl cotton and mixed fiber fringe. Beaded collar.
Purple, Light Blue, Pink, Yellow, Green Necklace Pouch
Pearl cotton, wool with beaded glass fringe and collar.
Necklace Pouch in Rust , Turquoise and Black
(Sold), Pearl Cotton
Orange, Pink, Blue Necklace Pouch
Wool with Swarovski crystals and glass beaded accents and fringe.
Sea Green, Coral, Sand Amulet Necklace
Handwoven pearl cotton with beaded warp and fringe.
Necklace Pouch in Lavender, Aqua, Gold and White
Pearl Cotton with two tassels and fringe
White on White Necklace Pouch with Bone Bead
(Gifted) Cotton and Mixed Fiber, Bone Bead
Necklace Pouch with Fire Skirt
(Sold) Pearl Cotton and Mixed Yarn for Fringe
Turquoise/Purple/Gold Necklace Pouch
Pearl cotton with beaded warp and fringe.
(Sold), Mixed yarns with glass beaded 3-tier flapper fringe.
Sand and Flora
(Gifted) Pearl Cotton with glass beaded pendant.
Fire Skirt III
(Sold) Pearl Cotton and Mixed fiber with stone and crystal beaded pendant.
(Sold) Cotton and mixed fiber with abalone and crystal beaded pendant.
Blues, heather, beige, grey, silver
Wool with mixed yarns and mother of pearl button.
Small Tapestries and Weavings
My textile work has been shown in galleries, and gift shops including the Brookfield Craft Center, Brookfield, Ct., Ripe Art Gallery, Huntington, NY, BJ Spoke Gallery,, Huntington, NY, Islip Art Museum Gift Shop, Islip, NY and Juried Fine Craft Fairs.