I was an architect first, having studied at Pratt Institute and practicing for over 20 years when in 2005, a progressive spine disease left me disabled and unable to continue practicing. I bring to my art, my architectural “baggage”. It informs me; always thinking about structure, composition, color and rhythm. The use of the grid, indispensable in architecture for defining parameters of space, is the skeletal backbone of much of my work. Working within the parameters of the grid might sound constraining, but for me, it is liberating. Within the grid, I weave color through geometric constructs, expressing joy of energy and movement; a stand in for my inability to move freely through the world without pain.

Creating geometric constructs offers me a form of invention and each work presents me with a challenge that motivates me both analytically and creatively. Each work is a formal exercise layered on top of a creative one, revealing the duality of my brain. The ultimate goal of this process is my quest to reach Optical Joyfulness and to impart this joy to the viewer.

Because of my disability, I work digitally. Painting the large format works I want to create is not a viable option for me, so digital technology is a blessing. At my age, I straddle two worlds, the analog of the past and the digital of today. Working digitally, I question how the digital modality of creating works of art, being in its infancy relative to the history of art, relates to the history of creative expression.

In a painting, one can see the human touch that created it, but how does one describe the humanity of a digital print? What now defines a fine art print? It is no longer defined solely as the transference of an image by the application of pressure on a substrate, but now, also the transference of image by inkjets, controlled by computer code. Digital tools (software) may be different than analog art making tools and methods, but the human mind that uses them is still the same. I like to think about it as a metaphor of the human body. As my work resides in the realm of virtual computer code, the code is the artworks DNA, and the human element that created it is its soul.