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.  As project architect, my last building was the Frost Art Museum in Miami. Ironic, as at the time I was doing the museum, I had no idea my future would be as an artist.
In 2005, after a second surgery, at the urging of my spouse to help me escape from pain, I began to learn Photoshop. Employing images from Bruce’s collection of vintage paper ephemera, I used the program to make greeting cards. But I quickly strayed, experimenting with my newly learned photoshop skills, ushering in the beginning of my reinvention to an artist. Though my photoshop skills were quite limited, to my surprise, a rich vocabulary of imagery began to spring forth. 
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 bold color through geometric constructs expressing joy of movement and energy; a stand in for my inability to move freely through the world without pain. I know a work is completed when I feel it has reached “Optical Joyfulness”.
Like all digital artists, our work resides in the realm of virtual computer code. The digital code becomes the artworks DNA and the human element that created it, is its soul.