My sculptures and mobiles are best viewed while revolving, providing continuously changing views of the interplay of light and shadow from the varied shapes and openings in the constructions.
I frequently begin a new piece with no definite idea in mind. Instead, I cut a few pieces of cardboard or other firm material and join them together. Then I put on a music CD or book-on-tape to distract the too-critical part of my brain, and continue adding more pieces, letting the work almost build itself. Then I give it a few days' rest and begin a critical examination of it, adding, subtracting, changing parts and, in general, critiquing the design until it is aesthetically sound. Then it gets a good coat of gesso to provide a base for the clay, and I plan how to proceed from there: color, texture, pattern, etc. A title/subject may occur during the building process, but if it doesn't - that's OK too. My aim is to provide a sense of peace and calm from watching the interplay of light and shadow and positive and negative spaces, rather than depict familiar or recognizable forms.
I use polymer clay as my medium because of its incredible versatility: it adapts itself to an infinite variety of visual possibilities. It is permanent and stable once fired.
In the past I have been a fiber artist, jeweler, painter, and graphic artist. I studied fine arts at New York's Music and Art high school, going on to Goddard College in Vermont and Denver University, where I received my BA in philosophy (Phi Beta Kappa) and MA in librarianship. Several years were devoted to library work (Associate Director of the Denver University libraries), and then five years travel around the US and Canada.
My work has been exhibited at the Denver Women's Bank, the Art of Denver gallery, the Colorado Springs Fine Art Center Biennial 1985 juried by Elaine Horowitz of Scottsdale Arizona, and recently at the Mesa Arizona Art Center's 10x10 show. PolymerCafe magazine has featured pictures of my work in its October 2009, August 2010, and April 2011 issues.