The vitality of the light in the print is often paramount for me, the gesture and energy of line or shape serving to invigorate or modulate that light. Most of my images are based on natural forms, frequently playing these against a sense of structure – either the division of space or the architectural construction of the forms themselves.
Although in previous years I often worked with photographic and digital processes, I have recently returned to more direct, hands-on involvement in my prints –- drawing directly on pronto lithography plates, hand manipulating collagraph, drypoint, woodcut or monoprint plates and using stenciling, collage and chine collé.
I have now retired from the printmaking faculty of the School of the Museum of Fine Arts, Boston, where I taught for many years. I have since intensified my involvement on the Board of the Boston Printmakers, an organization (now active for 70 years) of professional printmakers from across the US, Canada, Mexico and Cuba.
In recent years I have traveled extensively with other printmakers to China, Vietnam, Cambodia, Mexico, Iceland, Cuba and Poland. I value these vivid experiences, collaborating and exhibiting with artists in other countries.