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I love paint and I love textural detail. Over the years I have developed a personal 'vocabulary' of textures that has become the prominent feature of  my new body of work titled Latitudes. Regardless of the final product, my personal moments of triumph come whenever a satisfyingly deep, rich, gummy, gritty, grainy, feathery, shimmering, reflecting or wavering texture graces and completes a work. My earlier paintings included realistic and detailed imagery but also incorporated the textural details that I so enjoy and which became the dominant force of the new Latitude paintings. 

I always paint in a series because, in order to really get rolling, I need to work through ideas repeatedly, eventually arriving on the other side of the inspiration. With my most recent series, Latitudes, I often work on up to eight paintings concurrently. This usually results in a series within a series. These mini-series develop from many different influences. Some are obvious; because I live on an island in Massachusetts, I am surrounded by the ever-changing blues of the sky and ocean and so there is a lot of blue in my paintings. The desert colors can be attributed to the rich experience of driving across the Sinai Desert many times with my engineer husband when work took us there to live for years at a time. 


Some inspirations are not so obvious, even to myself; pipes and shimmering steel, which I am inexplicably attracted to, but feel compelled to incorporate into, even seemingly, pastoral settings. Delicate ethereal skies started appearing in many of my paintings before I realized the influence came from the front cover of Lubor Hajek's book, Japanese Graphic Art, which sat on a shelf in my studio for almost two years without being opened. Many of these textures and ideas are manifest throughout the Latitude series creating an endless variety of interpretations. Often I paint because there are times when nothing else can speak my inner dialogue. After the 9/11 attacks, I recycled canvases from graduate school, spending years exploring one approach after another. Painting helped me to process my feelings and I did find something personal to 'say' about the tragedy. 


During a different  dark time, I painted many of the broken down shacks on Plum Island over and over, not quite finding the closure I sought. I took a break from them for a time and when I went back they come together after they were given those ethereal Japanese skies mentioned above. 


The Morning Star paintings are a response to the messages of John Borders III, pastor of the largest African American church in Boston. 

My paintings are included in many corporate and private collections. The Latitude series of  paintings work well in residential areas but are particularly well suited to corporate settings. The canvases are primarily 24x48". They work well as diptychs, triptychs and as larger ensembles and can be installed puzzle-like for infinite varieties. Custom requests are invited and will be considered. Prices will be reduced when more than one piece is purchased. Most works are available for exhibit.


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