STATEMENT
I create work that reflects on the world around me; it contemplates religious, historical and mythological women, personal histories, and the psychological undercurrents of contemporary society and is influenced by social realism, political art, and feminist art, and addresses the angst and trauma of modern America from a female perspective.
My goal is to excavate the psychological undercurrents of our time, exploring the many faces of social concerns and trauma. Much of my work was created from the trenches, a place I believe is the best vantage point to witness the powers shaping our world. The reality is, my creative vocation as an artist was coupled with the need for a day job, this exposed me to the relentless grind of the rat race in New York City. From a bank teller to a secretary, a shoe salesman to a sandwich maker, I’ve worked in law, finance, and non-profits, rubbing shoulders with moguls, monsters, and wannabe-saints. This wasn’t a distraction; it was my education. It was from this belly of the beast that I gathered the notes and inspiration for my work. I’ve been a spy in plain sight, witnessing the powers shaping our world firsthand. I create art that reflects on what it’s like to be invisible because I, too, have been invisible. I am drawn to every woman because I am every woman. I focus on the dangers that lurk around every corner because I have witnessed them firsthand. In this new and monstrous age, protest is not just warranted; it is our only hope for survival.
My art is not created in a vacuum; it is a direct product of a lifetime spent observing, enduring, and fighting back. It is a testament to the truth I’ve found. Some might call my artistic drive a compulsion, but I see it as a calling, a vocation. My spirit animal is a banshee keening in the darkness. If someone hears and connects with my work, I’m glad, because we all should be keening; our world is under attack. In this new and monstrous age, triggers are everywhere. Protest is not just warranted; it’s our only hope for survival.
EDUCATION/OTHER
1985 Queens College of the City University of New York, BA, Fine Art Major
1975-1985 Forest Park School of Art
2013-2015 Arte Studio Ginestrelle, Assisi Italy
1981-1983 Archeological Dig, Forcalqueiret France
CURRENT MEMBERSHIP
2023 Ceres Gallery, NYC
2024 SOHO20 Gallery, NYC
RECENT SOLO EXHIBITS
| 2025 | Ceres Gallery, NYC Even in the Garden/Inner Beasts |
| 2024 | Queens College Art Center, CUNY, NYC, Full Circles |
| 2019 | #brokenwomenmendstronger, ARC Gallery, Chicago, IL – |
| 2016 | Wake of the Dutchman, Alfred van Loen Gallery, Huntington, NY |
| 2012 | Gamulets spirits and everyday humans, National Association of Women Artists, NYC |
| 2010 | Life in Crab Meadow, Spoke, Huntington NY |
| 1996 | Crustaceans and Older Influences, HLW Gallery, NYC |
Curated and Art Advocacy Projects:
| 2025 | Queens College Art Center, CUNY, NYC Facing Franklin – with Clarence Guienze and Regina Guienze Tinti Queens College Art Center, CUNY, NYC Robert Barrell & The Forest Park School of Art |
| 2024 | Ceres Callery, NYC Fat Canary at Ceres |
| 2023 | ARC Gallery, Chicago, IL Our Choice |
| 2020 | ARC Gallery, Chicago, IL Queens College Art Center, CUNY, NYC Social Distancing Festival, Toronto, Canada Artists for Social Justice 2020 |
| 2018 | Fat Canary Journal Artists for Social Justice |
| 2017 | Gambling the Aisle – Art Editor for this bi-annual, Denver art and literary journal |
Recent Group Exhibits
| 2025 | Yavapai College, Prescott Art Gallery Transforming Traditions: Art and Folklaw Heller Museum, NYC Proverbs, Adages, and Maxims MYMA, NYC Political Caricature SOHO20, NYC My Body My Choice Danger Zones Underneath/Beneath/Below |
| 2024 | Puffin Cultural Forum, Teaneck, NJ Democracy |
| 2022 | New Hope Arts Center, New Hope, PA Ancestral Intersections |
| 2021 | UpArts Incubator, Lansdale, PA, I am From Maggi Peyton Gallery, NYC, Welcome Back New York Citti de Assisi, Anniversary Exhibit of Arte Studio Ginestrelle |
| 2018 | Small Work Exhibit, Baruch College, CUNY, NY |
Curated Exhibits
| 2020 | Artists for Social Justice 2022, Kupferberg Gallery, Queens College CUNY, NYC Artists for Social Justice 2020, ARC Gallery, Chicago Social Distancing Festival, Toronto, Canada |
Publications
| 2025 | |
| 2024 | #brokenwomenstronger: an artist’s portrayal of gender-based violence, Women’s Advocacy Initiative |
| 2023 | Calyx Journal, Cover Art |
| 2021 | Calyx Journal |
| 2020 | Calyx Journal, Cover Art, |
| 2018 | Fat Canary Journal – July Mystic Blue Review – January |
| 2017 | The Woven Tale Press, June 2017 The Island Review Gambling the Aisle Literary Magazine, Temenos Journal, Central Michigan University, 2016 and 2017 Annual Member Exhibit, Mill Pond House, Smithtown, NY |
| Multi year | Temenos Journal, Central Michigan University, 2016 and 2017 Calyx Journal, 2016, 2017, 2019, 2020, 2021 The Tulane Review, Tulane University, 2015 The Journal, Ohio State University, 2015 Noctua Review Art and Literary Magazine, Southern CT State University, 2014-2017 Noctua Review Art and Literary Magazine – cover art 2015 and 2017 |
| 2014 | Glassworks Literary Magazine, Rowan University, Spring |
| 2013 | Tendril Literary Magazine,Winter |
| 2012 | The Colored Lens, Summer |
Education
| 1975-1985 | Forest Park School of Art, Woodhaven, NY – with Indian Space artist Robert Barrell |
| 1985 | Queens College, City University of New York, Flushing New York BA – Fine Art |
| 2013-2015 | Art Residency at Arte Studio Ginestrelle, Assisi, Italy |
| 1980- 1985 | Instructor, Children’s Art Class, Forest Park School of Art, Woodhaven, NY |
| 1983 | Archeological Dig in Poitier, France 1983 and |
| 1981 | Archeological Dig in Forcalqueiret, France 1981 |