“Art Sanctuary”
limited edition of 20, size 16″x20″
“Art Sanctuary, Autumn”
limited edition of 29, size 16″x20″
This series of prints is of the Rocky Neck Cultural Center, and was funded by a grant from Society for the Encouragement of the Arts’ Partner with an Artist Program, made possible by financial support from the Bruce J. Anderson and Selma and Andrew Bayness Funds of the Boston Foundation. The Rocky Neck Cultural Center, a former church, is the home base of the Rocky Neck Art Colony and venue for art exhibitions, concerts and lectures.
“Art Sanctuary, Winter”
limited edition of 25, size 16″x20″
"Lupine in Lubec", 14"x17"
Late June on our way to Campobello and the northern Maine town of Lubec, with the lupine in bloom.
"Night Falls on Annisquam Light" 2015, 12"x16"
A local lighthouse at dusk, moonlight shining on the scene.
"Suburban Saturday 1959", 2016 11"x14"
Created from a photograph of my mother on the stairs of our suburban home, the dress and the hairstyle are reminiscent of a distinct time and place. Her face appears in shadow as it did in the photograph, but also represents the blurring of her identity, hidden in the shadows as were many women’s in the postwar era.
![DSCN1022[1].jpg](https://static.wixstatic.com/media/d877df_7f468824230049a297e486eac6552287~mv2.jpg/v1/fill/w_309,h_223,al_c,q_80,usm_0.66_1.00_0.01,enc_avif,quality_auto/DSCN1022%5B1%5D.jpg)
'Sunrise at Good Harbor" 2016, 11"x14"
Dawn breaking over my favorite beach
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Down to the Sea, 2015, 24” x 8”
On the Stacy Boulevard in Gloucester sit two sculptures, the famous Man at the Wheel, a fisherman dressed in oilskins at the wheel of a schooner looking out to sea, and the Fisherman’s Wives memorial, honoring the families who kept the home fires burning while the men were out to sea. In reality, the two are far apart, but in this print I bring them close together, joined in their focus on the sea.
“Our Lady of Good Voyage”, 2012, limited edition of 30, 14”x17”
The iconic church in downtown Gloucester is reminiscent of the Portugal where many of the Gloucester fishermen hailed from. The spires topped with bright blue paint and golden crosses flank the statue of Our Lady who cradles a ship in her arms, protecting it from the perils of the sea.
“Two Gloucesters” 2010, limited edition of 20, 18″x 22”
The idea for this print came from a photograph I took while aboard a sailboat in Smith Cove in Gloucester. The view is from the water looking up the hill at the stately mansions perched above. To me, it represents the two distinct Gloucesters: one of the working people of the fishing industry and the other of the privileged class.
"Waiting", 2016, 11” x 14”
My trusty Westie Rocky was always perched on the bench that overlooked our driveway, waiting patiently for me to arrive home.
"In the Bleak Midwinter",
2016, 9"x14",
Snowmageddon, winter of 2015, snow on snow on snow
Older Prints
"Sunday Morning Coffee with You", 1976,
1976, limited edition of 26, size 16″x 20″
This stove resided in my first solo apartment in Brookline. I loved its vintage look against the bright orange I had painted the walls. This print was selected to be part of the Boston Printmakers’ annual show at the Decordova Museum in 1977.
“On the Lawn”, 1978, 18″ x 22″
This print was taken from a black and white photograph of me and my three roommates when we attended a Bonnie Raitt concert at the Music Inn in Lenox, Mass. in the summer of ’77.
“Home Alone on an August Night”, 1976, 16″x 20″
This was my first multicolored, limited edition print after mastering the technique of silkscreening. The warm earth tones convey a sense coziness and warmth.
“Deep Winter Blues”, 1977, 20″ x 20″
This print was conceived during a snowstorm in a dark period of my life when I was living in my studio in Cambridge. The loneliness and isolation are portrayed through the somber colors and starkness of the scene.
“Fantasy Escape”, 1977, 6″x 9″
This photo-silkscreen print was inspired by a photograph of my parents at a relative’s wedding soon after they were engaged. My parents’ marriage ended in divorce many years later, so I envisioned my mother as a ghostly figure in the foreground, while her true self looked on from her perch on the stone wall.
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