Born Detroit, Michigan, with an education in commercial art at Cass Technical High School, Detroit, a Bachelor of Fine Arts from Wayne State, and a Master of Fine Arts from Southern Illinois University. I have been a graphic designer in corporate exhibitions working with talented directors, engineers, designers and craftspeople that produced corporate and museum exhibitions installed worldwide. My artwork has shown in galleries and museums including churches, libraries and community. Current work includes illustrations, design and layout of books, and also reliefs and sculpture created in clay. At my Calumet studio I continue work in graphic design with pen and ink drawings, experimental books and paper constructions.

We see the world through contrast and patterns, light and dark, and know the edges of things: lines are horizons, distances and shapes, patterns form figures and faces. A line is a statement, a record, a word, a sound, with context and intent. Visual cues suggest depth and space. And a line can be an edge, an embossed trace, a cut. We see the surface, and we also see into it, through the artwork with our eyes scanning, focusing, and interpreting. Here are visual illusions and real shadows, with reflecting light and muted dark. Repeating patterns direct our eyes and allow us to drift in and out of space. This provides visual mosaics of tactile sensual information, a cool medium, with room to engage, like poetry or jazz. A line traces moments, follows contours and reveals echoes of the world. A stroke, outline, division, a line records words, sounds, ideas. I have been exploring visual geometric fields for many years. Originally as pen and ink drawings, then as simple etched or embossed lines, finally cutting through. I work to simplify and discover how shapes evolve and how we understand them. I am interested in the realm of visual and tactile reality. There is no illustration, no reference to the world other than the things themselves. The visuals are self-referential, not analogs or metaphors. I work with what the eye reads in pattern, converging and diverging lines and shapes, with delight in texture and material. Influences: prints and drawings with fine lines and textures, such as the drama, depth, darkness and light in Rembrandt etchings. I also look to Japanese block prints, scrolls and folding screens with shallow space and flat colors and the implication of deep, continual distances. I enjoy the sequential visual quilts of our modern illuminated pages: comic book art. Here the page geometry is laid out to control time, viewpoint, direction and comprehension. Another touch point, the paintings of color fields, of color layers built on color, such as the art of Gustave Klimt, who sometimes hints at a natural seeming visual space and then contradicts those hints with flat patterns and reflecting gold. More influences include the still, calm studies of the impossible geometry of Josef Alber prints, the contradictory, delightful visual space of Al Held paintings, the jarring, eye manipulations of Bridget Riley op art and the constructed shapes of Frank Stella. I am exploring the surfaces of materials and the significance of darkness, shallow space and suggestions of deep space, star tracks, comet trails, the patterns of waves disappearing on the shore, snowfall clouds and fields, and visual music