I studied fine arts at New York's Music and Art High School, going on to Goddard College in Vermont, then Denver University, where I received my BA in philosophy (Phi Beta Kappa) and MA in librarianship.
Several years were devoted to library work (Associate Director of the University of Denver libraries); then five years' travel around the US and Canada.
Although I was not able to devote as much time to my art as I would have liked for several years, I never stopped working at it. Along the way I have been a fiber artist, jeweler, painter, and graphic designer. I found my niche when I discovered polymer clay in the 1990's.
My work has been exhibited at the Denver Women's Bank, the Art of Denver Gallery, the Colorado Springs Fine Art Center Biennial 1985, juried by Elaine Horowitz of Scottsdale, Arizona, and recently at the 2010 Mesa Arizona Art Center's 10x10 show. "Polymer Cafe" magazine has featured pictures of my work in its October 2009, August 2010 and April 2011 issues.
My mobiles and sculptures are best viewed while revolving, providing continuously changing views of the interplay of light and shadow from the varied shapes and openings in the constructions. I find the slow movement soothing and relaxing.
I often begin a new piece with no definite idea in mind. Instead, I cut a few pieces of cardboard (old cereal boxes work nicely) or other firm material, and join them together. Then I put on a music CD or book-on-tape to distract the too-critical part of my brain, and continue adding more cardboard pieces and other media (such as wire, wood, fibers, feathers, etc.), letting the work almost build itself.
Then I give it a few days' rest before beginning a critical examination of it, adding, subtracting, changing parts and, in general, critiquing the design. When I'm pretty well satisfied I give it a good coat of gesso, which provides a nice base for the clay to adhere to. My mind at this point is constantly occupied with thoughts of how to proceed: color, texture, pattern, etc. A title/subject may occur to me during this process, but if it doesn't, that's OK too. My overall aim is to provide a sense of peace and calm, achieved by watching the interplay of light and shadow and positive and negative spaces, rather than to depict familiar or recognizable forms.
I use polymer clay as my medium because of its incredible versatility: it adapts itself to an infinite variety of visual possibilities. It is permanent and stable once fired.
The two main artistic influences on me have been Alexander Calder and Louise Nevelson.