ARTIST MEMBER
5 x 6″ folded; 10.5 x 5″ extended standing on rod
Handmade accordion book with lithography ink monotypes on Stonehenge and assorted etching papers; my hand-made marbled paper; book suspension on bamboo rod with end bead; all pages, front and back, are prints
10 x 8.5″ folded; 8.5 x 24″ flat
Handmade concertina book with etching ink monoprints on Canson and assorted etching papers cut into triangles; book covers flat or tilted at an angle; my hand-made marbled paper; all pages, front and back, are prints
Each book: 4 x 10″ folded; 4 x 4″ extended standing on rod; 7 x 16″ splayed left and right
Handmade double book with intaglio etchings using open bite, hard ground and roulette; Kitakata Washi paper overlays on Hahnemuhle etching paper; four quarter binding covers; my hand-made marbled papers suspended on a bamboo rod with end bead
BIO
While packing up my mother’s home, I discovered an old, metal hand-painted apple with stem and leaves. As I contemplated my departure from teaching, would there be an inkling to return to my artwork from many decades ago? The apple became my muse, and I started to draw again.
Returning to my artwork after five decades elsewhere, I find myself in somewhat
renewed territory: colors, shapes, textures, dimensions. After many years of teaching scientific writing for journal publication at Harvard Chan School of Public Health to students, researchers and physicians, a skill that requires specific technique and training, I have returned to a world of creativity where anything is possible. As opposed to flat, 2-dimensional scientific text befitting specific formats and components, I have total freedom to imagine and experiment. Nothing is formulated or confined; I can go beyond, out of bounds.
Thinking that I could pick up where I left off as a printmaking major at Moore College of Art and Design; no, I had to start all over again, remembering some, forgetting much. Several years ago, I returned to printmaking at Massachusetts College of Art and Design, along with glass blowing, and ceramic arts at the Harvard Ceramics Program. Inspired by workshops in the bookbinding arts at the North Bennet Street School, I now create artist books, a 3-dimensional staging to display my prints. All printing is done at New Impressions Print Studio in Somerville, MA. And I’m proud to add that my “Red Book #1” is in the 2026 North American International Print exhibition – my first artist book from 2025 and a first-time submission to this print show.
STATEMENT
I am a maker of prints and artist books. The artist books serve as a safe harbor – a magical, playful world that I inhabit, bringing harmony to grasp thoughts. My interest in landscape and architecture plays a role with forms and shapes that adorn the pages overlapping each other creating perspective, and a draw for the maker and viewer. Precision also plays a role. My artist books are more than printmaking. They include the bookbinding process, paper folding and end leaf papers – a complete assemblage that houses my prints. My books are created from collagraphs: acrylic molding medium on plexiglass and cut-out forms from shellacked or varnished boards. I also use etchings, monoprints and monotypes. Images can be flipped, ghosted and superimposed. Most end leaves are my hand-marbled papers; some end leaves are my prints. Cutouts place images in front of or behind the others creating depth and distance. Precise decisions on page placement and cutting of images are critical to grasp the maker and entice the viewer. Working with different papers, different inks, different levels of paper moisture and different press pressures extend and illuminate the possibilities as well as provide different ways to connect book pages to the binding.