In 1981 Richard Challis, of the then Challis Galleries in Laguna Beach, Ca. noted “her ability to make strong statements with minimal brushwork. Of course, the influence of the Impressionists is firmly planted, yet she has developed her own style. Her paintings are bold in color, contrast, and form.” From an article in American Artist Magazine, author Robin Longman, August 1982.

  Painting is a problem solving challenge, it is constant comparison. From the first stroke to the last you must read value to value, color to color, it must all relate. However, in painting, there is no correct way, no correct style, unlike mathematics where absolutes and answers are constant.

  Studying and relating the effects of light on the subject is an engrossing challenge and where it leads opens one's eyes to the transitory beauty and elusiveness of light. Painting the identical scene at three or four times in a day will prove the reasoning behind the theory of light.

  I'm happiest when I'm out in the field with all the elements focusing on a small piece of a beautiful landscape, out comes the juicy paint, the rather small canvas, the turps, paper towels, brushes, and hat. Suddenly everything around me disappears. In that two to three hour segment, I peer, squint, and search, the excitement builds as I see and relate the nuances of mother nature. Then I'm off to another locale as the sun has changed its effect to begin anew this most enjoyable passion we artists are so fortunate to engage in.

  Above I described plein air painting, I also work in the studio as I am a sculptor as well as a painter. For studio work I hire a model and produce a figure using either plasticene or clay. In the past, I have studied and fabricated molds. I prefer to contract with a foundry to produce the mold and the casting. What can I say about sculpting in a few words other than, “once tried, the challenge must be met!”