That day in 1977, the shopkeeper told me that the beautiful framed image on the wall was a screenprint. As a painter and potter, this meant nothing to me but, intrigued by what I did not know, I took my first screenprinting class and, immediately hooked, moved on to Ann Zahn’s workshops in etching, aquatint, stone and plate lithography, to Dan Weldan’s solar plate intaglio and relief, and Julia Ayers’ monoprints and monotypes, culminating in a degree in graphic arts and design in 1982 from George Mason University.
Each printmaking technique brings with it an array of exquisitely regimented steps and a plethora of loosely defined options, an arresting dichotomy that is the essence of the printmaker’s world, offering separate and unique ways of mark making. The choices are many and delicious.
As an artist who embraces the world of alternative printmaking techniques, both traditional and experimental, I travel many paths to reach the one that translates images in my head to the paper beneath the matrix. It is this magical transition that continues to fire my imagination and to produce my prints that find their way to you.
I received my printmaking degree from George Mason University in 1982 and co-founded the Washington Printmakers Gallery in 1985. In 2005 I joined several WPG members and the Business Volunteers for the Arts in creating the Washington Print Foundation to further educational outreach programs focused on the original print through exhibitis, workshops, lectures, demonstrations and, eventually, a hands-on printmaking center.
I teach alternative, non-toxic printmaking workshops for beginning and established printmakers for the National Gallery of Art, The Smithsonian Institution and the Lee Arts Center. My works are in the collections of museums, embassies, universities, law firms, corporations and individuals worldwide.