Works on Paper

Woodcuts and raised wood grain blocks on Okawara paper and mounted on canvas, 55″ x 55,” 1997 appeared in “Wall Papers: New Woodcuts on Paper,” 1997 at NEXUS Foundation for Today’s Art, Philadelphia PA. 

Je suis, je suis was inspired by a novelized version of the Dreyfus affair in France in the late 19th century. It made me think about the modern roots for European antisemitism in what we see in contemporary terrorist attacks. It has no rational explanation, it simply is. This work is mixed media on Tyvek, 48″ high x 120″ long. Techniques include woodprints, woodcuts,  block prints, stencils, and more. Made in 2015.

C.V. I is part of the Convenient Vanities body of work from 2014. This linocut is 8″ x 10″, black oil-based ink on Sekishu paper. In this image, I updated the concept of vanitas, a traditional still life concept of using symbols of the brevity of life. Junk food from the local convenience store contribute to shortening our lives but we enjoy every sip and crunch. This version includes the artist made frame.

Woodcuts, Acrylic paint on paper, mounted on canvas. 54″ h x 71″ w. 1997

This work was first exhibited in my solo show, “Wall Papers, “at NEXUS Foundation for Today’s Art in Philadelphia, PA. This series continued my fascination with Medieval, women’s weaving and Middle Eastern themes. Woodcuts, Acrylic paint on paper, mounted on canvas,  54″ h x 71″ w, 1997

This piece is a woodcut consisting of five blocks that abut or overlap. Printed on Okawara Paper mounted on canvas, 48″ x 57,” 1997. It was first shown in a solo show, “Wall Papers,” at NEXUS Foundation for Today’s Art, Philadelphia, PA in 1997.

Woodcuts on Sekishu paper mounted on canvas, 39 x 35, 1997

1997,  Woodcuts, Acrylic paint on paper, mounted on canvas,  54″ h x 71″ w

This work was made in 1997 with woodcuts and raised wood grain blocks that abut or overlap on Okawara paper mounted on canvas 54″ x 71″. The title refers to the pre-history activities of women who spun and wove patterns of which the meanings are unknown or imbued with magic. First exhibited as part of the solo show, “Wall Papers” at NEXUS Foundation for Today’s Art in Philadelphia, PA. 

My mother was one of Four Sisters (Marcia-First Sister, Roz-Second Sister, Betty-Third Sister, Phyllis-Fourth Sister). Through patterning and overlays within grids, I describe their personalities in ways they were alike and ways they were different. The three oldest sisters suffered from forms of mental illness but they were all kind and full of fun when they felt well. The youngest sister was the least affected by this plague. These were made with multiple blocks and raised wood grain blocks, torn paper, mounted on canvas. First Sister is 38.5.”h x 49″w., 1995, Second Sister is 39″ x 45″, Third Sister is 39″ x 38″ and Fourth Sister is 39″ x 38″  Debuted at Philadelphia’s  NEXUS Foundation for Today’s Art in 1995’s “Mental Pictures.”

Woodcuts and acrylic paint on Okawara paper on canvas, 1995. First exhibited at NEXUS Foundation for Today’s Art as in my solo show, “Mental Pictures” in 1995.

 

Part of painterly print series, Vertebrae overlapped woodcuts and raised grain blocks with acrylic paint on Sekishu paper, 1990, 39″ h x 24″ w

Smoke is part of a painterly print series in 1990 with overlapping blocks. Woodcuts, acrylic paint on Sekishu paper, 24″ h x 39″ w

This work was first shown at NEXUS Foundation for Today’s Art in a solo show titled “Ruminations”  in Philadelphia in 1993. I was continuing with a predator/prey theme and inspired by Medieval manuscripts. Woodcuts on Sekishu paper, 16″ h x 24″ w, 1993

Edition of 3, one in Private Collection

This work was first shown at NEXUS Foundation for Today’s Art in a solo show titled “Ruminations”  in Philadelphia in 1993. I was continuing with a predator/prey theme and inspired by Medieval manuscripts.Woodcuts, Acrylic paint on Sekishu paper mounted on canvas, 120″ h x 57″ w, 1992

This work is mixed media including block prints on Okawara paper mounted on canvas. I made this work in 1991 but it is inspired by a trip to Middle East in 1986. While there, I learned about the raking of sand at Israeli border fences, something that enabled security forces if there had been a breach. This is many years before the tunnels that are now the concern for security. 120″ x 57’w.

The Predator/Prey theme continues. I was thinking about battlefields. Woodcuts on raised wood grain blocks mounted on canvas. 120″ x 57″, 1991

This work a few years after I returned from the Middle East. The ceramic tiles and the light on the Dome of the Rock were dazzling and I used them as emblematic for my general feeling about the area. At the time, anyone could go up to the temple mount but today it is far more restricted access due to the political climate. Materials are woodcuts mounted on Okawara paper mounted on canvas, 95″ x 57,” 1991

Made in 1991, this work was inspired by both my fellowship trip to Israel and my feelings about the Holocaust. For me, the concept of Jews being prey in the 1930s until the end of WWII, and the official creation of a new state for the survivors to return to the land where  many never left except by force, were conjoined. 

Woodcuts, Acrylic paint on Sekishu paper mounted on canvas, 96″ h x 57″ w, 1991

Prayer Rug, Carpet Bomb was made during the first Gulf war.  I was listening to NPR regularly and heard a story about Muslim soldiers praying in their dug-out shelters. I was envisioning nails in exploding cluster bombs and gas masks used as protection in this horrific environment.

Made in 1991,  Woodcuts, Acrylic on paper, 48″ h x 39″ w (Private Collection)

Woodcuts and raised wood grain blocks on Okawara paper and mounted on canvas, 55″ x 55,” 1997 appeared in “Wall Papers: New Woodcuts on Paper,” 1997 at NEXUS Foundation for Today’s Art, Philadelphia PA. 

Je suis, je suis was inspired by a novelized version of the Dreyfus affair in France in the late 19th century. It made me think about the modern roots for European antisemitism in what we see in contemporary terrorist attacks. It has no rational explanation, it simply is. This work is mixed media on Tyvek, 48″ high x 120″ long. Techniques include woodprints, woodcuts,  block prints, stencils, and more. Made in 2015.

C.V. I is part of the Convenient Vanities body of work from 2014. This linocut is 8″ x 10″, black oil-based ink on Sekishu paper. In this image, I updated the concept of vanitas, a traditional still life concept of using symbols of the brevity of life. Junk food from the local convenience store contribute to shortening our lives but we enjoy every sip and crunch. This version includes the artist made frame.

Woodcuts, Acrylic paint on paper, mounted on canvas. 54″ h x 71″ w. 1997

This work was first exhibited in my solo show, “Wall Papers, “at NEXUS Foundation for Today’s Art in Philadelphia, PA. This series continued my fascination with Medieval, women’s weaving and Middle Eastern themes. Woodcuts, Acrylic paint on paper, mounted on canvas,  54″ h x 71″ w, 1997

This piece is a woodcut consisting of five blocks that abut or overlap. Printed on Okawara Paper mounted on canvas, 48″ x 57,” 1997. It was first shown in a solo show, “Wall Papers,” at NEXUS Foundation for Today’s Art, Philadelphia, PA in 1997.

Woodcuts on Sekishu paper mounted on canvas, 39 x 35, 1997

1997,  Woodcuts, Acrylic paint on paper, mounted on canvas,  54″ h x 71″ w

This work was made in 1997 with woodcuts and raised wood grain blocks that abut or overlap on Okawara paper mounted on canvas 54″ x 71″. The title refers to the pre-history activities of women who spun and wove patterns of which the meanings are unknown or imbued with magic. First exhibited as part of the solo show, “Wall Papers” at NEXUS Foundation for Today’s Art in Philadelphia, PA. 

My mother was one of Four Sisters (Marcia-First Sister, Roz-Second Sister, Betty-Third Sister, Phyllis-Fourth Sister). Through patterning and overlays within grids, I describe their personalities in ways they were alike and ways they were different. The three oldest sisters suffered from forms of mental illness but they were all kind and full of fun when they felt well. The youngest sister was the least affected by this plague. These were made with multiple blocks and raised wood grain blocks, torn paper, mounted on canvas. First Sister is 38.5.”h x 49″w., 1995, Second Sister is 39″ x 45″, Third Sister is 39″ x 38″ and Fourth Sister is 39″ x 38″  Debuted at Philadelphia’s  NEXUS Foundation for Today’s Art in 1995’s “Mental Pictures.”

Woodcuts and acrylic paint on Okawara paper on canvas, 1995. First exhibited at NEXUS Foundation for Today’s Art as in my solo show, “Mental Pictures” in 1995.

 

This work was first shown at NEXUS Foundation for Today’s Art in a solo show titled “Ruminations”  in Philadelphia in 1993. I was continuing with a predator/prey theme and inspired by Medieval manuscripts. Woodcuts on Sekishu paper, 16″ h x 24″ w, 1993

This work was first shown at NEXUS Foundation for Today’s Art in a solo show titled “Ruminations”  in Philadelphia in 1993. I was continuing with a predator/prey theme and inspired by Medieval manuscripts.Woodcuts, Acrylic paint on Sekishu paper mounted on canvas, 120″ h x 57″ w, 1992

This work is mixed media including block prints on Okawara paper mounted on canvas. I made this work in 1991 but it is inspired by a trip to Middle East in 1986. While there, I learned about the raking of sand at Israeli border fences, something that enabled security forces if there had been a breach. This is many years before the tunnels that are now the concern for security. 120″ x 57’w.

The Predator/Prey theme continues. I was thinking about battlefields. Woodcuts on raised wood grain blocks mounted on canvas. 120″ x 57″, 1991

This work a few years after I returned from the Middle East. The ceramic tiles and the light on the Dome of the Rock were dazzling and I used them as emblematic for my general feeling about the area. At the time, anyone could go up to the temple mount but today it is far more restricted access due to the political climate. Materials are woodcuts mounted on Okawara paper mounted on canvas, 95″ x 57,” 1991

Made in 1991, this work was inspired by both my fellowship trip to Israel and my feelings about the Holocaust. For me, the concept of Jews being prey in the 1930s until the end of WWII, and the official creation of a new state for the survivors to return to the land where  many never left except by force, were conjoined. 

Woodcuts, Acrylic paint on Sekishu paper mounted on canvas, 96″ h x 57″ w, 1991

Prayer Rug, Carpet Bomb was made during the first Gulf war.  I was listening to NPR regularly and heard a story about Muslim soldiers praying in their dug-out shelters. I was envisioning nails in exploding cluster bombs and gas masks used as protection in this horrific environment.

Made in 1991,  Woodcuts, Acrylic on paper, 48″ h x 39″ w (Private Collection)

Part of painterly print series, Vertebrae overlapped woodcuts and raised grain blocks with acrylic paint on Sekishu paper, 1990, 39″ h x 24″ w

Smoke is part of a painterly print series in 1990 with overlapping blocks. Woodcuts, acrylic paint on Sekishu paper, 24″ h x 39″ w