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Artist’s Statement

My first recognition as an artist came in kindergarten when I received an award for my drawing of a sanitation truck rendered in crayon spewing crumpled paper scraps I retrieved from the floor. Garbage held more interest for me than the cheerful house with a tree, and a smiling stick figure family that might have been expected of me at the time. 

I grew up on Long Island and, to escape from the boredom of suburbia, I lived in an elaborate, imaginary world of my own. When I got too old and self-conscious for play-acting, I replaced it with reading books, writing stories, and drawing pictures. I enjoyed sketching from real life, but my favorite drawings came from stories and characters I imagined in my head. I drew inspiration from the art books my parents had in the house and visits to the Metropolitan Museum and MoMA. I felt wonderment in all kids of art—everything from the massive colorful shapes in Matisse cut-outs, the brave but tragic gesture of Degas’ little dancer, the drama evoked by Caravaggio’s use of dark and light. 

I was also drawn to the way pictures were used in storytelling. I spent hours at our local library poring over picture books, drawn equally to the simple line of Harold’s Purple Crayon as to the delicate renderings of Tasha Tudor’s Secret Garden. I also devoured magazines and marveled at the way their illustrations drew you into stories in subtle ways that words alone can’t do. 

My exuberance and impatience frustrated my high school art teacher who told me I’d need more discipline to be an artist.  Feeling somewhat discouraged, I majored in liberal arts in college. But I found a home for my work when I became a cartoonist for the university newspaper where I was able to bring my imaginary world and its characters to life. Working on deadline, collaborating with other cartoonists and seeing my work in print all over campus made me sure that whatever else I did in life, I’d also need to be drawing.

I moved to New York City more than 30 years ago, got a Masters in social work and became a nonprofit leader, eventually becoming the executive director of the New York Foundation where I spent 27 years. My work funding community social justice organizations has allowed me to explore all corners of the city’s vibrant, lively, colorful neighborhoods, and connect to the people who live there. I have never been a full-time artist—at least not yet—but I have always made time to create illustrations, especially for social justice groups and publications. All my work is informed by stories shared with me over the years about what it’s like to struggle, persevere and find joy in the big city. 

In 2003, I was encouraged by an artist friend to enroll at the Art Students League. I have been a devoted student there ever since. I discovered a community of people like me who have pursued many different careers but feel compelled to create art. I studied under Nicki Orbach who, in my humble opinion, was the League’s most gifted teacher. She encouraged in all her students a sense of joy and curiosity in all mark-making. I have studies academic drawing with Edmond Rochat, Sherry Camhy, and Wendy Shalen. For the past two years, I have studied watercolor painting with Beth Allison. In my illustration work, Anna Raff, James Ransome, and Joanna Colter have been my mentors. 

I know there are some who would consider fine art and illustration as two divergent disciplines.  But so much of what I want to explore anchors whatever one is after in any picture-making—strong composition, animated color, and gesture that pulls at your heart. Whatever I am working on, I see myself as a visual interpreter, a holder of wonderful stories. When illustrating, the stories appear in pictures. But every mark on the page is a rehearsal for a finished image that seems to emerge on its own in ways that can feel mysterious and exhilarating.