My collages and botanical paper cuttings have been exhibited in exhibitions in galleries and museums throughout Michigan including the Grand Rapids Art Museum; Synchronicity Gallery in Glen Arbor; and ThirdStone Gallery in Saugatuck. In addition, my work is in private and corporate collections including those of Dickinson Wright Law Offices in Grand Rapids and N.C.A., Inc. in Des Moines, Iowa. I was born in Westbury, on Long Island, New York in 1959 and received a B.A. in Art from Aquinas College in Grand Rapids, Michigan.  
  My interest is in fusing parts of previously unrelated elements in such a way that you’re not quite sure what you’re looking at. Disparate fragments, though out of context, retain their original associations. By assembling them in unexpected ways, I invite the viewer to reconsider those associations and question what’s real and what’s not. My work creates visual metaphors for the multi-layered and paradoxical nature of daily life and employs word play to underscore the notion that things are not always as they seem. The materials I am most drawn to are books, maps, stamps, engravings, envelopes, labels, old magazine
clippings and other stray images thatare evocative of nature, travel, time, and childhood remembrances. My first exposure to collage was as a child when I had found an article on Joseph Cornell in Life magazine. I was captivated by his mysterious shadowboxes, not only by their beauty but because the collection and storage of weird artifacts (junk) was a pastime of mine, too. Twenty years later, I happened upon the work of Kurt Schwitters in a Chicago gallery and was reminded that, for me, collage is the most perfect form of expression. I have been mixing media ever since.

  My collages begin with a piece of fine paper or board that is prepared with gesso and gouache. From a vast stockpile of paper findings I begin arranging a composition while allowing the materials to guide the process of placement and juxtaposition. I arrange color, texture, and image in layers until a story appears. Sometimes I will rip or cut out sections or sand the surface to reveal simultaneous multiple layers. Colored pencil brings out subtle surface texture and detail. The botanical paper cuttings begin with delicate paper that is painted and collaged. I choose from a variety of plant templates that I superimpose and trace with a single blade as each flower or fern is a silhouette cut from pre- collaged imagery. This work can be particularly difficult and time-consuming depending on the level of specimen detail and the number or layers of collage. I use prismacolor to bring out texture in the finished piece then mount each one on paper in the manner of 18c herbarium. Both techniques of collage and paper cutting are centuries old and their use spans many cultures. By exploring these ancient techniques I can learn how artisans in Mexico, Africa, Turkey, Japan, and Europe mixed media as a form of expression. I strive to bring this knowledge to my own work, which I regard as a continuation of a rich global tradition.