LINDA GOODMAN

Lives and works in Petaluma and Oakland, California
Born in Chicago, Illinois, U.S.A.
To E-mail LindaGoodman, at:  (you must type this yourself; you can't click on this to avoid spam)
Artist's Statement (Current and historical)
Artist's Writing On Printmaking; On Painting.

EXHIBITIONS
Selected Solo Shows
2019 Light Room Gallery, Berkeley, CA, "WATER/BODIES."
2016 Foundry Wharf,Petaluma, CA, "Hidden Treasure."
2010 Galleria Il Bisonte, Florence, Italy; "C'era Una Volta a Firenza (Once Upon a Time in Florence)"
2008 Galleria Gaia Art Farm, Papiano, Italy; "Memoria e Identità (Memory and Identity)"
2005 Galleria Il Bisonte. Florence, Italy
2001 Whitman College, Walla Walla, WA: "Linda Goodman — A Graphic Journey"
2001 Malaspina Printmaking Society Gallery; Vancouver, British Columbia, Canada
1999-00 Paradiso, San Leandro, California: "Linda Goodman — Prints and Photographs"
1998 Wente Vineyards Estate Winery, Livermore,: "A Sense of Place."
1995 Studio 1450, Emeryville, California: "Sogno Italiano"
1992 Seipp Gallery, Palo Alto, California, "Rememories."
1988 Mincher/Wilcox Gallery, San Francisco, California
1984 Seipp Gallery, Palo Alto, California*
1980 Rubicon (Klein) Gallery, Los Altos, California*

Selected Group Shows
2017 Ice House Gallery, Petaluma, CA, "Mostly Monochrome"
2015 Chalk Hill Artist Residency Gallery, Healdsburg, CA
2015 29th Annual Emeryville Celebration of the Arts, Emeryville, CA
2014 Emeryville Celebration of the Arts, Emeryville, CA
2011 Emeryville Celebration of the Arts, Emeryville, CA, "25th Annual Art Exhibition"
2008 Tsao Gallery, "One-of-a-Kind: Monotypes and Monoprints," Davis, California
         Art Works Downtown, "Monotype,"San Rafael, California
2007 Mission College Art Gallery, Faculty Show, Santa Clara, California
2006 Skopelos Foundation for the Arts, Skopelos, Greece
2005 Skopelos Foundation for the Arts, Skopelos, Greece
2005 "Monotype Marathon XI", San Jose Institute of Contemporary Art, San Jose, California
2003 Emeryville Celebration of the Arts, Emeryville, CA: "Seventeenth Annual Art Exhibition."*
2002 Emeryville Celebration of the Arts, Emeryville, CA: "Sixteenth Annual Art Exhibition."
2001 John Slade Ely House, Center for Contemporary Art, New Haven, CT: "Amalgamations"°*
         Phoenix Sky Harbor International Airport, "Limited Editions from the Phoenix Art Commission Portable Works Print Collection: 30 Artists          from the Western States"
2000 Kala Institute, Berkeley: "Annual Exhibition"°
1999 Emeryville Celebration of the Arts, Emeryville, CA: "Thirteenth Annual Art Exhibition."
         Kala Institute, Berkeley: "Annual Exhibition"°
1998 Riva Sinistra Arte, Florence, Italy: "Firenze Arte Oggi."°
1997 Bedford Gallery, Dean Lesher Regional Center for the Arts, Walnut Creek, CA: "The Shoe Show."*
         Emeryville Celebration of the Arts, Emeryville, CA: "Eleventh Annual Art Exhibition."°
         Herbst International Exhibition Hall, Presidio, San Francisco, CA: "Kala 23rd Anniversary"
         Kala Institute, Berkeley: "Annual Exhibition"
         Richmond Art Center, Richmond, CA: "Beyond Boundaries"
         Cal State Hayward Gallery, "Alumni Printmakers."°
1996 Yerba Buena Center for the Arts, San Francisco, CA: "Kala Award Winners Show"
         Gallery 479 , New York: "East/West Prints"; traveling: Norwalk Community Tech College Art*
         Gallery, Norwalk, Connecticut; Olive Hyde Art Gallery, Fremont, California
         Pacific Art League, Palo Alto, CA: "Pacific Prints 1996."°*
         Euphrat Gallery, Cupertino, CA: "De Anza College Faculty Show."
1995 J.J. Brookings Gallery, San Francisco, CA
         SAGA, New York, NY: "East/West"*
         Amador County Arts Council Gallery, Sutter Creek, CA: "The Monotype Forum."°*
         Anita Seipp Gallery, Palo Alto, CA: "Chairished Memories"*
1994 Triton Museum of Art, Santa Clara, CA: "Diversity and Vision of the Printed Image"
         UC Berkeley Museum at Blackhawk, Danville, CA: "Printmaking Possibilities"
         Stanford University Museum of Art, Stanford, CA: "Hine Editions/Limestone Press: Selections"
         AMD Gallery, Santa Clara, CA: "Selected Visions."
1993 Gallery 30, Burlingame, CA: "Contemporary Monotype."
         Holmes Fine Art, San Jose, CA: "Ink and Clay."
         Thackery and Robinson Gallery, Califia Books, San Francisco, CA.
         Palo Alto Cultural Center, Palo Alto, CA: "Six Easy Pieces."
         Cadence Corporation, San Jose, CA.
         Mission Cultural Center, San Francisco, CA: "CSP Annual"
1992 Palo Alto Cultural Center, Palo Alto, CA: "Directions in Bay Area Printmaking: 1965-92."°
         San Jose Museum of Art, San Jose, CA: "KTEH-TV Art Invitational."°
         Pyramid Atlantic, Washington, D.C.
         Napa Art Center, Napa, CA: "2nd International Print Competition."°
         Art Works Galleries, Fair Oaks, CA: "Current Trends in Printmaking."
         Pacific Art League, Palo Alto, CA: "Pacific Prints 1992."°
1991 Berkeley Art Center, Berkeley, CA: "BACA Exhibition, Part 2"
         Mincher Wilcox Gallery, San Francisco, CA
         Gallery Concord, Concord, CA: "Vessels."*
         Pacific Telesis, Walnut Creek, CA
         Synopsis Corporation, Mountain View, CA
         Gallery Concord, Concord, CA: "Men By Woman."
         Kala Institute, Berkeley, CA : "Jerome Foundation Fellowship Exhibition."
         Vision Gallery, San Francisco, CA
         University Art Gallery, CSUH, Hayward, CA: "Faculty Show."
1990 University Art Gallery, California State University at Hayward, Hayward, CA: "The Evocative Object."
1989 Bruchnerhaus, Linz, Austria: "Aspects of Gaia, ars electronica ". Invitational.
         Arvada Center for the Arts and Humanities, Arvada, Colorado: "A Book in Hand."*
         School of the Art Institute of Chicago, Chicago, IL.
         Mincher/Wilcox Gallery, San Francisco, CA.
1988 Bender Rare Book Room, Mills College, Oakland, CA: "Artists' Books: North/South."
         Mincher/Wilcox Gallery, San Francisco, CA: "Elements of Architecture."
         San Francisco State University, San Jose State University, "The Cutting Edge."°
         Pacific Art League, Palo Alto, CA: "Pacific Prints '88." Best Monotype Award.*°
1987 Monterey County Museum of Art, Monterey, CA; "The Artist and the Myth." Fresno Art Center and Museum, Fresno, CA; "Passages:          California Women Artists, 1945-1985,
         Undercover: The Book as Format," Curator: Judith Hoffberg.*
         Kala Institute Gallery, Berkeley, CA.*
         California State University, Stanislaus; College of the Siskiyous; "The Cutting Edge: An
         Exhibition of Relief Prints. " Curator: Robert Johnson, Achenbach Foundation for Graphic Arts°
         Mills College Art Gallery, Oakland, CA; "Alumni Artists Invitational."
1986 San Francisco Arts Commission Gallery, San Francisco, CA: "Chain Reaction II."
         Palo Alto Cultural Center, Palo Alto, CA; "Self Image." Cur.: D. Chadwick.°
         Twin Pines Cultural Center, Belmont, CA; "Bay Arts 1986." Juror: L. Gompert, Curator, New Museum of          Contemporary Art, New York, NY
         Pacific Art League, Palo Alto, CA; "Northern California Print Competition."*°
1985 Miller/Brown Gallery, San Francisco, California
         Bradley University, Peoria, IL: "20th Bradley National." Juror: L. Leubbers.°
         BANAMEX, Banco Nacional de Mexico, Mexico City, Mexico
         South of Market Cultural Center, San Francisco, CA
1984  Cabrillo College Art Gallery, Aptos, California; "The Singular Image."
         Pacific Art League, Palo Alto, CA; "Northern California Print Competition." Award. Jur: Henry Hopkins, San           Francisco Museum of Modern Art; Robert Flynn Johnson, Achenbach Foundation for the Graphic Arts;           Roberta Loach.*
         Southern Exposure Gallery, San Francisco, California
1983 University of Massachusetts, Amherst, Massachusetts°
         Smith College, Fine Arts Department, North Hampton, Massachusetts°
         Palo Alto Cultural Center, Palo Alto, California; "Primarily Color."*
         Boston Public Library, Boston, Massachussetts
1982 Richmond Art Center, Richmond, California; "Spring Annual." Juror: George Neubert, San Francisco Museum          of Modern Art, Terry St. John, Oakland Museum*°
         World Print Council, San Francisco, California; "Bay Area Monotypes.: University of Kentucky, Lexington,          Kentucky*°
         Colorado State University, Fort Collins, Colorado°
         Ohio State University, Bowling Green°
1981 Zaner Gallery, Rochester, New York; "Small Works National '81." Juror: Betty Parsons*°
         Triton Museum, Santa Clara, California; "First Annual Triton Museum Competition."
         Bradley University, Peoria, Illinois; "18th Bradley National." Juror: Misch Kohn.°
         Camerawork Gallery, San Francisco, California.
1980 San Mateo Arts Council, Belmont, California; "Bay Arts 1980."
         Sonoma State University Art Gallery, Rohnert Park, California*°
         Hughes Air West Corporate Headquarters, San Mateo, California*
1979  Trenton State College, Trenton, New Jersey; "National Drawing '79." Juror: Bernice Rose, Museum of Modern           Art, New York ,New York
         *Show reviewed °Catalog available

PUBLIC COLLECTIONS
Brooklyn Museum, Brooklyn, New York.
Library of Congress, Washington, D.C.
Oakland Museum, Oakland, California
Achenbach Foundation for the Graphic Arts, Fine Arts Museums, San Francisco, California
Phoenix Art Commission, Phoenix, Arizona
Cantor Arts Center at Stanford University, Stanford, California
City of Palo Alto Permanent Collection, Palo Alto, California
University Galleries of California State University, Hayward, California
Euphrat Gallery of De Anza College, Cupertino, California

PUBLISHED PRINTS
The Chair Variations: Eight Lithographs by Linda Goodman with Text by Al Young, Limestone Press, San Francisco
"Chair: A Progression in Twelve Monotypes" by Linda Goodman. Letterpress by Andrew Hoyem, Arion Press, San Francisco, CA
"Food For Thought" by Linda Goodman, Bluxome Editions, San Francisco, CA

BIBLIOGRAPHY
"Poetry and Modern Dance Ignite the 28th Annual Emeryville Art Exhibition," sfonthebay.com October 2014.
"28th Annual Emeryville Art Exhibition," artslant.com/sf, October 12, 2014
Rona Marech, "Hot Dates: Compact city has big impact when it comes to local art," San Francisco Chronicle, October 3, 2003,
William Zimmer, "The 20th Century, All Pieced Together," The New York Times, January 28, 2001.
Judy Birke, "In 'Amalgamation,' forgotten objects get fresh lives," New Haven Register, January 14, 2001.
P. Clabby, E. Doktorski, J. Malinowski, "Amalgamation: An Exhibition of Assemblage & Collage" Catalog, Center for Contemporary Art, New Haven, Connecticut
David Wiegand, "More Foot Art", San Francisco Chronicle, Datebook, Sept. 7, 1997.
Jennifer Asche, "Tongues May Be Wagging Over Art Show With Sole," San Francisco Chronicle, Contra Costa, Sept. 12, 1997
Vera Chan, "Footprints of identity, "The Times, September. 3, 1997.
William Zimmer, "California or New York, Coastal Styles," The New York Times, Sept. 22, 1996.
Jim Leitzell, "Creative Approaches to Monotype," About Art, Vol.1, No. 11, Sacramento Bee, Feb. 96.
L. Ortiz, "A Visual Memoir", Weekend, Davis Enterprise, January 20, 1996.
"East/West," Journal of the Print World, Gary Shaffer, Fall 1995.
Larry Ortiz, "Monotype Forum Called Exceptional," Artsline , Sutter Creek, CA, July 1995.
Edith Smith, "Limestone Press Archives & Master Drawings at Stanford", California Printmaker, June 94."
"Contemporary Printmaking: Artists' Statements," Artweek, November 5, 1992.
"Print Exhibits Cover the Canvas," San Francisco Chronicle, October 4, 1992.
"Directions In Bay Area Printmaking," Journal of the Print World, Fall 1992.
Directions in Bay Area Printmaking: Three Decades, Signe Mayfield, The Palo Alto Cultural Center, 1992.
Pacific Prints 1992: 6th Biennial Print Competition & Exhibition, catalog.
"Dialogue: Linda Goodman and Barbara Parsons," Visions Quarterly, Spring, 1991, Los Angeles.
Carol Fowler, "Gallery's 'Vessels' Exhibit Can More Than Hold Its Own," Contra Costa Times, 5/27/
"Pacific Prints Exhibition of 1988," West Art, Vol. 26, No. 16, May 13, 1988. P.1.
Donnelly, Kathleen, "Winning Prints Are Anything But Pacific," Palo Alto Weekly, April 6, 1988.
"Print Show at Pacific Art League," Peninsula Times Tribune, April 3,, 1988.
Shere, Charles, "Artscene," The Oakland Tribune, May 5, 1987, D-8.
Hale, David, "Bound To Stir Thing Up; Exhibit Showcases Artist's Books," The Fresno Bee, 3/22/87.
Shere, Charles, "Studio Tours Showcase Where Art Is Going," Oakland Tribune, Oct. 28, 1986.
Burkhardt, Dorothy, "Open Season At The Studios," San Jose Mercury News, Oct. 17, 1986.
Burkhardt, Dorothy, "Printmakers Shun Technical Fetishism," San Jose Mercury News, 6/19/86
Rawlins, Penelope, Peninsula Time Tribune, October 18, 1985.
Burkhardt, Dorothy, "Linda Goodman: Paintings, Drawings," San Jose Mercury News, 11/9/1984.
Powers, Victoria, "Palo Alto Painter at Seipp," Palo Alto Weekly, October 10, 1984.
Goldman, Ann, "Color Is The Primary Attraction," Palo Alto Weekly, October 13, 1982.
Shere, Charles, "Gallery Review," Oakland Tribune, d-6, April 11, 1982.
Stewart, Laura, "Judged By The Master," Rochester Democrat and Chronicle, Nov 6, 1981.
Norris, Tim, "The Parsons Vision, " Times-Union, Rochester, New York, November 6, 1981.
Roder, Sylvie, "Confinement Is The Catalyst," Artweek, Oakland, CA, November 29, 1980.
Walker, Meg, Palo Alto Weekly, August 21, 1980, p.22.
Caen Herb, "The Monday Thing," San Francisco Chronicle, August 18, 1980.
Reinka, Janet, "No One Like Nude Art—Now Walls Are Nude," The Peninsula Times Tribune, 8/15/80.
Golding, George, San Mateo Times, August 14, 1980, p. 22.
Weaver, Gay M., "Drawings Notable For Human Figure," Palo Alto Times, August 31, 1981.

EDUCATION
M.F.A., Printmaking, Mills College, Oakland, California
B.A., Fine Art, Stanford University, Stanford, California, with Honors in the Creative Arts

HONORS AND AWARDS
Residency Chalk Hill Artist Residency, September 2015
Residency, La Pilande Basse, Plaisance, France. Sponsors Michael and Judy O'Shea, June 2001
Residency, Malaspina Printmaking Society, Vancouver, British Columbia, Canada, January-February 2001
Jerome Foundation Fellowship, Kala Institute, Berkeley, California 1990
Award, Pacific Prints '88, Palo Alto, California 1988
Prize, Northern California Print Competition, Palo Alto, California, 1984.
McDowell Colony Fellow in Printmaking, Peterborough, NH, Alternate, Spring 1983.
SECA Finalist, San Francisco, California, 1978.

TEACHING EXPERIENCE
2015-18 City College of San Francisco, San Francisco, CA. Printmaking, Adjunct Instructor
2016      Richmond Art Center, Richmond, CA Monoprin, Monotype, Drawing. Teaching artistt
2004-18 Il Bisonte, International School of Graphic Arts, Florence, Italy. Visiting Professor,"Your Creative Sojourn in              Italy — Printmaking in Florence with Linda Goodman: Monotype and Chine Collè, Monoprint, Drypoint,              Etching
2010      Stanford University, Florence, Italy. Stanford-in-Florence 50th Anniversary, Printmaking Workshop.
2005-08 Mission College, Santa Clara, California. Instructor, Drawing
2006-09 Pleasant Valley Adult School, Oakland, CA; teacher of adults with disabilities/older adults: drawing,              painting, crafts, film appreciation, communications
2005-06 Skopelos Foundation for the Arts, Skopelos, Greece. Program Director, Creative Monotype Workshop
2001-02 University of Oregon, Eugene, Oregon. Visiting Assistant Professor, Art Department. Intaglio and Relief.
2000      Whitman College, Walla Walla, Washington; Visiting Assistant Professor, Art Department. Painting,              Drawing, Lithography,Senior Thesis.
1996-01 Santa Reparata International School of Art, Florence, Italy; Workshop instructor, Intaglio, Monotype
1983-00 Kala Institute, Berkeley, California. Instructor, Printmaking
1998      San Francisco State University, San Francisco, California. Lecturer, Art Department.Drawing and              Printmaking
1994-97 De Anza College, Cupertino, California. Lecturer, Art Department.Drawing and Printmaking
1995      SACI Studio Art Centers International Florence, Italy; Visiting Artist, Monotype and Chine Collè
1993      San Francisco State University, Lecturer, Department of Art, Drawing and Printmaking
             University of Minnesota, Minneapolis, Visiting Artist, Drawing, Split Rocks Art Program.
1992      UC Berkeley. Lecturer, Printmaking, Department of Art Practice. Lithography.
1991      Cal State University, Hayward, California. Lecturer, Art Dept. Printmaking and Artists' Books
1990      San Francisco Art Institute, San Francisco, California. Visiting Artist, Lithography
1990      Cal State University, Hayward, California. Lecturer, Art Dept. Printmaking
1989      School of the Art Institute of Chicago, Chicago, Illinois. Visiting Artist, Printmaking, Intaglio and              Relief.
1988-89 Sonoma State University, Rohnert Park, California. Lecturer, Drawing and Printmaking,              Department of Art.
1988      Cal State University, Hayward, California. Lecturer, Art Dept. Printmaking and Artists' Books.
1984      Mills College, Oakland, California. Lecturer, Design, Book Arts
1983      University Of Minnesota, Deluth. Visiting Artist. Drawing. Split Rock Summer Art Program.
1978-83 De Anza College, Cupertino, California. Instructor, Department of Art. Life Drawing.Printmaking:lithography,              intaglio and monotype.

CONFERENCES AND SYMPOSIA
Interviewed, "Firenze Arte Oggi, (Florence Art Today), Toscana TV, Italian TV, July 1998
Moderator, "The Invisible Artist: Supporting the Habit," San Francisco Art Institute, June 1993.
Panelist, Artists' Books, Books Arts Symposium, San Francisco, August 1991.

VISITING ARTIST LECTURES
The Artist's Experience, University of Oregon, January 2002
Malaspina Printmaking Society, Vancouver, British Columbia, Canada, February 2001
San Jose State University, San Jose, California, 1991
University of New Mexico, Albuquerque, New Mexico, 1990
Scripps College, Claremont, California, March 1988.
Sonoma State University, Rohnert Park, California, 1985
.
EXHIBITIONS JURIED OR CURATED
Fresno County Fair,(Juror) Art Exhibition Awards, 2007.
Marin Arts Council Individual ArtistsGrants, 2004, Painting/2D, (Juror), Awarded $50,000 in grants.
Adelaine Kent Exhibit (Co-curator), Artists Annual, (Juror), Walter and MacBean Galleries, San Francisco Art Institute, 1992, 1994, 1995
Alameda County Fair Art Competition (Juror), Livermore, CA 1996

PROFESSIONAL AFFILIATIONS/SERVICES
AICA, International Association of Art Critics, Member since 1990.
Creative Growth Art Center, Teacher 1991, 2006
Pleasant Valley Adult School, Oakland, CA; teacher adults with disabilities and older adults; 2006
College Art Association, Member
Printworks Magazine, an online magazine of printmaking; Editor. http://www.artmondo.net/printworks
California Society of Printmakers, Journal Editor 1992-96; Board Member 1988-89, 1992-96.
San Francisco Art Institute Artists Committee Member, 1992-1995.

TRAVEL/FOREIGN LANGUAGES SPOKEN
Speak and write fluent Italian; understand Spanish, some French. Extensive travel/study in Italy
and Western Europe (France, Greece, others), Great Britain, and Mexico. Lived and worked in Italy
and Great Britain and Vancouver, Canada.

COMPUTER AND TECHNOLOGY PROFICIENCY
Familiar with offset lithography, 4-color process, computer graphics, digital imagingand electronic publishing,
including Photoshop, Dreamweaver, MS Word, Filemaker, Illustrator, Excel, and others.
Video and photography. Photo processes in printmaking.

ADDITIONAL STUDIO PROFICIENCY
Painting, drawing, artists' books, papermaking.

Bay Area Workshops/Classes/ click here
Printmaking in Florence, Italy Workshop/click here
Portfolio under construction. Top of Page Home

ALL WRITING AND IMAGES ON THIS WEBSITE ARE COPYRIGHTED © 2007- 2015 BY LINDA GOODMAN. ALL RIGHTS RESERVED. REPRODUCTION, AND/OR REPRINTING IN ANY FORM WITHOUT PERMISSION BY THE AUTHOR IS PROHIBITED.

 
Etching/monoprint with wax
"All I Wanted Was To Visit"
©2008 by Linda Goodman.
All rights reserved.

On Printmaking

Printmaking is a testament. It registers each stroke traced and every state through which the work passes. No other medium so fully reveals the creative process.

Most simply, a print is an impression. Whether foot or fingerprint, or mark made on a plate, all evidence something that has been or happened there. It is perhaps no coincidence that we call our first prints, "proofs". This aspect reinforces my current work, which summons memory to bear witness to personal histories and lives.

The printmaking process is catalyst to artmaking—as cooperative partner or agent provocateur. I choose a medium by the expression desired: perhaps the physicality of a vigorously worked intaglio plate combined with monoprint; or the luminous, spontaneous and subtle image development which monotype encourages.

A strict arbiter of truth in a looking-glass world, the print hones skills: reversed, a lazy passage will not stand. Yet the medium readily allows me to resolve formal and intellectual concerns—building, revising, overprinting, subtracting until I "get it right" or realize an extensive series of related images. Using proofs as a matrix, I develop the image further with mixed media—often pastels, graphite and wax. This dialog informs other areas of my artmaking—painting, drawing, artist's books, even photography.

A master at breaking boundaries, print media easily appropriates the reality of a photograph and (through chine collè or photo processes) can collage that with the romantic allure of a luscious wash, other images or text. Historically, prints have been intimate, personal, and political, with an immense capacity for activism. They implicitly raise questions of authorship and originality.
Making prints can be encumbered by technical considerations (even when technique recedes in importance as in monotype). Yet I persist in making them for the rush of seeing that first impression—reversed, transformed and unified by immense pressure, the crucible of printing.

—Linda Goodman
1992 Artweek Magazine
Contemporary Printmaking, Artists’ Statements
©1992 and 2008 by Linda Goodman. All Rights Reserved.

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In 1991
My work right now is about letting go; about finding something by not looking for it. About my proceeding by sense of touch, searching out the physicality of the medium and the process — how it sounds when you roll the ink, how the plate resists as you draw the drypoint needle against it, how it feels to maneuver a three-by-four foot etching plate, how rhythms are developed by stroking charcoal over the embossed lines of a print. Working from the heart more, less concerned with the previously-mentioned duality. The answer really is in the paint . . . or the ink . . . or the clay. In the doing.

In 1988
My monotypes and drawings, painting and prints of the past several years, have addressed a dialectic between reason and passion. Seeking to synthesize these apparently opposing forces, I have concentrated on developing a dialogue between structure and gesture. Archetypal forms — chairs, figures, and most recently, temple ruins and vessels — serve a symbolic/mythic function in my work, presenting fragments of a non-linear narrative. Singly, each offers a sense of balance and harmony through formal statement. Together, the pieces act as witness to my ex-plorations and continue an extended self-portrait.
A duality of intellect and emotion has often conversed within and among my works and their subjects. In 1986, "The Expulsion," a large charcoal triptych not in this exhibit juxtaposed chair and temple with figures of Adam and Eve, and led directly to my focus on temples (and later, vessels). My "Temple/Vessel" monotype series of ruins invoked a sense of loss and separateness, yet offered a promise as the opening on the distant horizon played figure/ground tricks to image the form of an insistent vessel. When drawing — or simply envisioning — singular vase forms, I am awash with feeling of self-containment, soothing unity and calm. In the end, these images are harbors of contemplation for me, safe ports of solid com-position where one's alienation — or hope — can come to dock.

On Painting

October 2008
I am falling in love with painting again. It requires trust and faith. Trust in one's self and one's decisions. Faith in the process. That if I just stick with it, it will happen and eventually work itself out.
I have to let go of control in order to find it again. The answer is in the paint, in the process. I can’t over intellectualize it. I can’t be afraid. I have to try things out, make adjustments based on what I see after I make a mark. Try out a different color, a different shade, a different brush, a different stroke or angle. Long, flat, round, short and frenetic, bold and flat, wild and squiggly. Hard, soft. Get to know how it reacts. Learning to love wet-on-wet. Letting the colors mix on the canvas, not asking for the answer until I see it. Painting thick. Pausing. Reflecting, turning the canvas every which way to get a new take on it. It will reveal itself to me if I let it. If I don’t stop, don’t pause too long, allow the colors to stay wet so one layer can interact with a previous one.
They want to talk to each other. They don’t want to dry out that much, they are willing to mingle.
I set up the problem. Then I try to solve it. Sometimes the stakes change. And I am ok with that. It’s exhilarating! Up, down, back, forward, trusting that I will get to the finish line.
Making marks with the music playing behind me, with me. Dancing in the studio.
Yeah.