In studio, 2017
Growing up in a small Vermont town in the 1950s, I might have had only a regional world view if it had not been for my family’s connection to education, the arts and travel. In 1956, when I was seven years old, my dad took a sabbatical from teaching geology at Dartmouth to drive our family from New England to Mexico City. I still have a drawing I made after visiting a Rufino Tamayo retrospective with my mom, herself an active painter. Undergraduate studies led me to circle the globe in 1970; when I crossed the International Date Line it happened to be my twenty-first birthday. My professional life working in museums since 1975 has always fueled my thirst for art making. After moving to Seattle in 1990, I experimented with installations and mixed media as a member of the artist collective SOIL. I next took my passion for mark making into the print studio, and currently I focus on paper lithography and chine-collé techniques. My prints reflect a life-long concern with the environment, human interaction with land and water, and cartography.
"Art News", Mexico City, 1956
Mexico City, 1956
Our current need for global stewardship is more urgent that ever in the history of the planet. Layers of paper lithography and chine-collé may reflect the passage of time, using historic handwriting or maps. Prints challenge me to ask: how is my life unfolding where I am at this moment in time? How consciously do I respect the world I live in?
All of the prints presented in the annual portfolios have been cropped to show the best image detail on screen. When ordering 14"x11" prints please be aware that the image potion of the print will be about 6"x4" and float within the sheet like the images shown behind the artist in this image. Although the 22"x16" prints are likewise cropped in the portfolios, their image area takes up most of the sheet.