The Artist Now based in New York City, when I lived abroad I traveled extensively in England, continental Europe, Africa and the Middle East. During that time I gathered unusual papers, both found and purchased, collected other ephemera and made rubbings to document my experiences and use in my mixed media art works. Recent extensive travel throughout South East Asia have broadened my appreciation of the Asian aesthetic.

Much of my past work was influenced by Surrealism as well as the Dada movement, since I subscribe to many of the existential, coincidental and paradoxical tenants of these art movements. My most recent body of work explores color and pattern within the confines of Lines and Layers of my own handmade and hand decorated papers. The works become abstracted studies in texture through variations of color and arrangement.

Collage and mixed media are appealing since they allow the re-assembling of reality to suit my whims. I can easily re-invent, construct and deconstruct the world around me. I use many of their automatic and experimental techniques relying on chance and intuition to arrive at an image.

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Favorite Art Supplies

                From time to time I will share my experiments with both old and new products that I use in my collages and mixed media work. There always seems to be new products and new ways to use all those paints, pastels, crayons, markers, etc. that all of us buy. Recently I used Kroma Krackle, which is just what the name implies. There are several manufacturers but I used the Kroma Krackle at a group art session. It is a semi-opaque gel that you can use on its own or mix it with a small amount of acrylic paint. Spread it on your surface with a brush or palette knife. As it dries (which can take overnight) cracks will appear. The thicker the lawyer, the bigger the cracks. I used a heat gun to speed up the drying, which worked well. As you can see from the two examples you can make a more all over effect or apply sparingly in thin dribs and drabs. The results are surprising and I like the texture it gives to an artwork. I cut small rectangle from some of my experiments and made very nice greeting cards. I also spread the crackle/paint combination on magazine images which resulted in a layered, dense look that was appealing. Add marks with paint pens or markers for more interest and to show the hand of the artist. This is a good addition to add to your repertoire of paper decorating techniques. For more information simply Google Kroma Krackle.

picture of the week

This collage is titled "When I Turn Blue" and uses paint, pastels, graphite and magazine cuttings. Faces appear intentionally and accidentally in my work and I like to say I do self portraits that don't look like me. Here is a case in point. The background was made in a mixed media class and constituted a "start". Starts are so fun and easy to make and they usually spark excitement and enthusiasm. Then the difficult work begins to finish it into a piece of art. Using the paint blobs as a starting point I began pulling out a face which I did not like at all. So the search began in my stash of images and I found a perfect fit in size and color. Once the faced was glued on I could see the path forward to finishing it by expanding the hair and adding a few abstract blue shapes to the face. The two straight lines were added in place of a torso as I thought the open space ironically, would be more engaging. Take away from this piece-keep playing and adding layers and trust your instincts.

Picture of the Week (POTW)

Title: New York Then and Now; Size: 4" x 6"; Book and magazine cuttings Source material for collage is abundant in both digital and analog format. I work exclusively with old fashioned paper, scissors and glue because I enjoy the tactile qualities of everything about paper-folding, cutting, glueing. Most of my images in the past were culled from old books and I have the blessing and the curse of living near The Strand bookstore in NYC which has been around for many years and sells both new and used and rare volumes. Of course I gravitate to their outside racks of one, two, and five dollar books. They are in absolutely no order and that makes the hunt more exciting. Lately, however, I have been also using some magazine images since there are current images regarding issues of the day such as climate change, immigration, etc. This past year has made me venture into some political commentary with my work which I had not previously done. But I digress.  Inexpensive books not only provide images but will sometimes ignite a spark of inspiration for a single work or even an entire series. For example, I found a Dover copyright free publication with images of the facades of cast iron buildings of old New York. By tearing, cutting and coloring the images I have been able to make many collages both on paper and on canvas. Currently I am cutting out the windows to allow other collage elements to show through. This simple idea gave way to a whole new set of collages. Most of the windows, pillars and old New York street scene in this small collage  were taken from this Dover publication. Mixed with a few contemporary magazine pieces for interest and a focal point of a face makes it a resolved piece of work.  Notice also how depth perception is manipulated by the small scale buildings, people and carriages in the center.  Anything is possible with collage.    

Picture of the Week - 5 January 2018

Although Banksy was unaware of his participation, he and I collaborated on this college. The rat image was unearthed from some papers I brought back from the UK and my contribution was the rubbing on the right hand side which was from a metal plate in the sidewalk in front of our flat. The street art materials just worked together.

Rubbings, or frottage in artspeak, are an excellent way to record plaques, manhole covers, gates, doorknobs and assorted metal street features wherever you happen to be. Materials are simple and inexpensive: crayons unwrapped and sturdy paper and a roll of tape. If you want professional materials purchase rubbing discs from art supply stores that sell them for grave rubbings. Most papers will work but some will tear here and there. Avoid this issue by buying mulberry or rice papers that are thin but very durable. Simply tape the paper to the object and run the crayon or disc over the image. Brings back the kindergarten days of making rubbings of coins.

Use the papers for backgrounds for paintings or use them in collage. The Asian papers glue down easily with minimal wrinkling.

Make yourself a small travel kit when you go on holiday and you will be able to return with  unique souvenirs as well as art materials.

Picture of the Week (POTW) - 17 December 2017

Title: Snake Charmer
Size:11’ x 7’
Collage with book cuttings
Exquisite corpse constructions allow hybrid, unbelievable creatures a chance to come to life. Parts can be harvested from used books and magazines and the hunt for these is almost as enjoyable as making the work. Almost any title can yield useable images and some save you the agonizing decision of what to cut out when images are on the front as well as the back of the page, by printing the image on one side. Of course you can photocopy images so you don’t lose them, but the colors are usually slightly off.  Scanning will give truer colors.
Favorite books to use are nature books of all kinds, anatomy, costume, machinery, tools, architecture and prehistoric writing and art form. I used a yellowed paperback of mazes very effectively in many works. If is is cheap enough buy anything that catches your eye the might haves potential .
I tend to have cutting marathons scissoring up an entire book so when I want to work the images are ready to be assembled. Other collagists will page through a book or magazine and cut out images that strike them or will have a predetermined idea of what they are looking for;perhaps a set of crossed legs or an odd object to use as a hat. They will compose as they flip through magazines or books with maybe little idea of the finished product. In this way you can surprise yourself as well as the viewer.
Try both systems and see how you like to work and how you are the most productive.

Picture of the Week

Dunces of Disparity; 11" x 8'; Collage.

POTW - 10 November 2017

Magnetic Disturbance; 12" x 9"; Collage.

POTW - 3 November 2017

The Conversation, 12" x 9", Collage.

POTW - 21 August 2017

Again, Lucky Strikes; 7 " x 11"; Collage.

POTW - 14 August 2017

Exquisite Corpse: Spontaneous Combustion, 11" x 7"; Collage.
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208 West 29th Street
Suite 613
New York, NY 10001


  • Professional artist with expertise in printing and mixed media collage
  • Designer of original contemporary mixed-media pieces in private collections in Florida, North Carolina, Connecticut , Rhode Island, Ohio, Texas, Indiana, Angola West Africa and Bristol, England
  • Art instructor for children and adults in various media : acrylic, mixed media and printing techniques since 1996.


  • Paper Decorating Techniques - Center for Book Arts, New York City Paste paper, marbeling and hand bookbinding
  • Internship at Dieu Donne Papermill, New York City
  • Four Master Artist workshops, West Palm Beach, Florida. Studied with nationally recognized artists such as Audrey Flack, Richard Seigleman and Bruce Helander
  • B.A. and M.A. (Anthropology and Organizational Behavior )


  • Artist Roundtable, New York City
  • Center for Book Arts, New York City
  • National Collage Society
  • Drawing Center, New York City


  • Carter Bruden Gallery, New York, NY


  • Carter Burden Gallery, NYC; 2013-2015
  • Open Studios in N. Adams, MA, Hartford, CT and Bristol, England
  • National Collage Society
  • Lincoln Center Small Works, New York City
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I offer one and two-day workshops as well as extended classes over 6 to 8 weeks.

    • Classic Collage
    • Using only found images and glue. Accessible to everyone and immediately gratifying.
    • Mixed Media Collage
    • Using a wide variety of media, but primarily acrylic paint and papers of all types. Free-wheeling fun with surprising results.
    • Surface Design for paper
    • An overview of several techniques including paste, resist, frottage and simple printing to transform the single sheet of humble paper.
    • Paste Paper
    • Making patterned papers, using a paste and acrylic paint mixture for sophisticated designs with amazing depth, color and texture.
    • Experimental Mark Making
    • A variety of exercises to overcome obstacles to making art that is true to your self. Intuition is the guiding force in a relaxed and supportive atmosphere.

Commission work is gladly accepted using my own papers or the client’s papers, colors, and images. I can work from an idea, a photograph or drawing The resulting work will be truly unique and a true collaboration.

Past commissions have been for a variety of clients including decorators, medical professionals and expatriates. A few samples are below.

Further information and prices on request.

Here are a few examples of prior commissions.


I started Never The Same Card Twice (NTSCT) while living in England. All cards are made on quality stock and are one-of-a–kind. None are printed.

Most are collaged cards which can be used for any occasion. The inside is left blank for your own message. Additionally, there are two holiday lines-one with traditional red and green and one for greetings of the season using non-traditional colors. An Easter line is also on offer.

Cards can be made to order using your materials or mine for invitations, thank you cards and announcements according to your specifications.


Further information and prices upon request.







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by phone: 352-219-9867
by post: 208 West 29th Street
Suite 613
New York, NY 10001