Artist’s Statement

By “risk” we normally mean chancing something bad happening as a result of a present gamble or self-indulgence.  But our feckless climate change risk was taken a long time ago, and that something bad may no longer be “a risk”  but now “the inevitable.”  My dread is expressed here by imagining the main survivor of our ecological folly; the inheritor of what we’ve left of the earth, the eternal cockroach of the family Blattaria. He will survive us. He will have subdued other hardy but lesser survivors for dominance. This king of the roaches will rule over all the roaches of North America. My sculpture is the statue dedicated to him upon his coronation. Bow down.

Artist’s Statement

For the past several years, I have been working with the medium of collage to convey my thoughts about environmental issues. In creating works about protective spaces, I wanted my two-dimensional collages to become three dimensional. This was accomplished by incorporating wire, foam board or wood. Paper for these collages came from photographs of bamboo sculpture and flora. I began the process by altering the intensity of the images’ color through Photoshop. I then glued these cut-up pieces of photographs, creating color and repetitive patterns on geometric shaped structures. The Sanctuary has one large arch shaped opening while The Habitat and Refuge have smaller multi-openings. The results form a kind of protective area against the forces of nature, hurricanes, drought and wild fires.

Artist’s Statement

Recurring catastrophic storms have made enormous impact on our environment and health. My mixed medium sculptures address these issues and have incorporated storm remnants into their compositions. In S.S. Sandy: My Story, a bronze, crawling, figurative central element carries on its back an actual crud encrusted work glove representing the seemingly endless days of storm clean-up and the helping hands of volunteers that lightened the load. In Stella: S.S. Sandy, series, the actual storm’s mud film pattern covers the dazed survivor who is gazing out into the distance as her red wind-blown hair reacts to the storm's receding gusts of wind and salt water. A bold, chaotic background sets the scene for Faces of Finnigan: Black Coral. Psychological turmoil was the motivating story.

Artist’s Statement

At Risk in my work refers to both a country at risk and each person individually. My sculpture, Exposed, is about being exposed to Covid19. The bottom, macraméd rope, I think of as a protection, a blanket or coat perhaps. The top is still exposed and in a bloody, jagged, unhappy state. I created this work while having to shelter in place. In Landscape the grass is the shape of the United States, which is at risk as implied by the globe of cloudy sky. When I created the sculpture I was thinking about climate change but I think today it suggests that our country is at risk from Covid19 and our corrupt and inept president as well as climate change.

Artist’s Statement

We are the guardians of the natural world. We must protect our children and pass on our traditions. And let's not lose our sense of play . . . our humor. Shelter provides a bird sanctuary or aviary in a hand sewn stuffed dress. Gold in the Morning Sun follows in the footsteps of sculptors Henry Moore, Barbara Hepworth and Jacob Epstein exploring the Mother-child relationship. The relationship between mother and child determines the emotional health of our children and therefore our society; always to be preserved. Steinway Suite No.1 is a playground for our sculptural offspring inspired by time spent during childhood in imaginative play under the family 8 ft. Steinway grand piano.

Artist’s Statement

I was dealing with loss all this past year as my amazing mother had died at 94. She chose hospice at home, which isn’t pretty, but we got to say goodbye with love. As an artist/political activist and environmentalist, Barbara Ann Gill Porta Hutchinson had made a difference. Dead Mommy in a Box is the model for Magical Thinking which is the installation I made in response to her death. The installation was installed in a group show at The Brother Chapman Gallery (IONA College). One week later the COVID 19 pandemic happened. The Transience of Time deals with the beauty and fragility of our aging bodies. Observing and embracing the grief, the joy and miracle of being here is a privilege. To be alive is to be at risk .

Artist’s Statement

The current Covid-19 crisis and ongoing environmental threats have put our world and lives at risk. What We Eat reminds us that one of these threats, toxic waste, continues to ravage our planet sixty years after the warnings of Rachel Carson. Child suggests that the above threat and others, both natural and man made, have put our children, our most precious resource, at risk. The Light Within suggests that in spite of the threats which surround us, the light of reason and resolve, fellowship and hope, can guide our paths to a better world.

Artist’s Statement

The At Risk project is a hovering slice of floating metal representing dangers: The scary realization that powerful REAL changes will have to be made by very COMFORTABLE people leaving the OTHERS (98%) to disappear in a devastated mess. Currently our world is in chaos with its underbelly exposed to mortal fractious partitions: Our new NORMAL. Specifically our country seems to be at the precipice of a devastating second civil war - A plague of nature with an insatiable virus gorging on animal species around the world AND a second from man’s inhumanity to man as seen through greed, racism, religion and sexism (to mention a few).

Artist’s Statement

When I moved to Miami in the early 1950s I lived near an A&P Supermarket.  I was fascinated by the water fountain, which was painted with the title: Colored Water, and every time I went in the store I ran to this fountain.  To my great disappointment, the water always came out clear, just like the water in the other fountain. Antediluvian Memories Manhattan Hourglass references floods that have occurred since the beginning of time on this planet, but are only notable when they impact humans. Sometimes we put ourselves in the path of these potential floods, other times nature shows us what she can do. Originally conceived as a nod to another artist’s romantic turmoil, Un Hombre Tranquilo became more relevant in the context of our present predicament.