At 17 I had a strong desire to learn how to paint in a classical style. I began with trompe l’oeil still life through which I used to examine the material items my family had kept after moving many times. The color relationships in these seemingly mundane domestic objects of material culture somehow representing my life at that point. Next, I placed people in interior settings, the interiors adding to the inner psychological aspect of the person, often using myself. Then I looked outside and taught myself how to paint landscapes. Still, they have a psychological aspect to them and an examination of times past - the broken and abandoned buildings of the early industrial age in this country and the falling down houses the people lived in. In short, my work along this line is all about shadows, the shadow side of what it is to be human and exist on this planet and how nothing stays the same and continues to change. The beauty in the shadow side in relationship with what we see in the sun – together, like the Taoist symbol yin and yang. All is one and the different aspects are all part of the same thing.

In the beginning I began working at Plum Hill Studio, making fused glass window ornaments and designing and making fused glass dishes and bowls. These were shipped all over Nationally. At the same time, I took a painting class. I quit sports. I failed Trigonometry, preferring to study books on artists. Humanities was my most influential class and so I insisted upon going to a liberal arts college. I ended up getting a BA in Studio Art from the University of Mary Washington, graduating with awards. It’s a long story. I am still painting, and I wouldn’t have it any other way.