Both of my parents were artists—my mother a painter and interior decorator, my father a creative advertising director with a gift for language. We lived in a renovated barn with exposed beams and steel horse-stall railings dividing the space. Two early visual memories stand out: my stepbrother’s walls painted a florescent lime green (not of his choosing) and a powder room wallpapered in crinkled matte aluminum foil, forming abstract, light-reflecting tributaries. 

I sold my first commission at 22 while studying at the School of Visual Arts in New York City. For a final project focused on a neighborhood study, I chose the Fulton Fish Market, the wholesale fish market in lower Manhattan. I still remember the sound of corrugated metal doors slamming shut at dawn. That piece became a birthday gift for the owner of Smitty’s Fillet House–my first sale.

During university, I worked as graphics co-editor for both the college newspaper and literary magazine. I later spent more than 30 years in corporate communications and design, developing a strong foundation in typography, visual identity and production. My work was rooted in research–historical and contemporary–and focused on creating clear, compelling visual narratives. 

Throughout my career, I developed a deep appreciation for texture, paper, typography, and the urban landscape. I spent years photographing New York City—its architecture, signage and constant movement. More recently, my focus has shifted towards nature—its seasonal changes and organic forms—while continuing to explore contrast and juxtaposition.

I think of this as a kind of “third eye”, a way of seeing that gravitates toward unexpected visual relationships. Each day I search for a detail that disrupts the familiar, an image that invites pause and closer attention. My current practice brings together these experiences—design, history, observation and intuition—into a layered, evolving body of work.

Look closely, notice what feels off-kilter, and let your imagination lead the journey.