Selected Monoprints and Monotypes

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Artist Information

The moniker often used to describe the Monotype is “the Painterly Print”.  It is a single, unrepeatable image, in every sense of the word, a painting, only the oil color is transferred to paper under pressure usually by some kind of printing press.  There you have it, a unique image, a painting but also a print.

This medium is very suited to a painter who likes the freedom to wipe, redo, paint back into, remove paint out of, in other words, to stay free and flexible all through the painting process.  This freedom leads to creativity. It is a process that allows me, to let my inspiration find its way out in an unhindered manner, inviting impulsive immediate action.  To help me with this I use some unconventional painting tools in addition to brushes, such as rollers, steel wool, cotton swabs, Kleenex, my fingers.

I normally paint a thin coat of paint all over a roughed up Plexiglas plate. Then I start drawing and painting using oil paints mixed with wax to keep my paints wet and safflower oil as a medium if I want very soft, flowing passages.

When my painting is ready for the press, I look at the backside of my Plexiglas plate, since that is what I will see, my painting will be printed in reverse.  In addition to my image being printed in reverse, there is a measure of unpredictability in producing monotypes as other factors influence how the paper will emerge from under the rollers of the press. Even though I will have painted exactly the image I want, painted exactly the way I want, there are times when “accidents” manifest themselves when I lift the paper from the plate. These accidents can be caused by passages that have too much paint, or too little paint, or perhaps I calibrated the press with too much pressure. There are times when all those hours of effort will end up in the circular file but other times the surprise will merely add something different.

My landscape images are usually about places far from the maddening crowds and confinement of the cities in which I lived most of my adult life.  They are the idyllic geographic regions that are places to reflect and enjoy the quiet, that nurture our hurried lives, that hush our harried minds listening to the sounds of the ocean, the gulls or osprey fishing, or the movement of small wildlife darting through the underbrush. These places are references from photos I have taken over the years, especially the coastal regions of New England and the South.

My compositions are generally diffused shapes and tonal arrangements whether they are figurative or landscape. Most embody the peacefulness of timelessness while others capture the drama of dancers moving to silent chords of music.

The freer and less controlled technique of the Monotype medium has influenced my work in oil giving me a new and growing language of expression.

Additional work and information can be found at:

Creating art has been a lifelong activity. In high school, my art teacher persuaded me to pursue art as a career, instead of my first-choice at the time: medicine. (I had been participating in a high school scholarship program in medical research at the time.) As a result, I went on to graduate from the Massachusetts College of Art in Boston with a BFA in Painting and Printmaking. Putting a Master’s Degree on hold, I entered the business world. Throughout my varied business career, I continued my art studies at various well-regarded art institutes in the Boston, New York and Connecticut areas.

I am drawn to painting varied subjects, figurative, still life and landscape, primarily in oil and monotype “The Painterly Print” –  painting and drawing from both life and photographs. Usually my landscape scenes convey a sense of peace sometimes bold in color other times subdued, while my figurative work is generally about movement. I also enjoy the challenge of Plein Air painting, observing nature directly but various living locations and travels also provide me copious photographic images. My early art developed from a captivation with the human figure and a belief that the human anatomy represented the universal landscape. I’m still drawn to its versatility seeking to capture the physical and emotional overtones of my subject without being overly particular to details while remaining a representational painter.

Inspiration has come from a varied group of figurative and landscape masters, historic and modern day. The German Expressionist Kathie Kollwitz particularly influenced my drawing and monotypes; the Impressionists and Post-Impressionists have provided lasting lessons; Richard Diebenkorn taught me about vectors and the importance of angles; contemporary painters Stuart Shils and Michael Workman exemplify the balancing of abstraction and realism.

My work has always been a journey for artistic growth.  Continuiously pushing myself forward, experimenting with ways of looking at subjects, applying media and alternate techniques. I look to translate and interpret what I see through varying perspectives and my own emotional response. Creating art in different media challenges me and also inspires me, keeping the creative flow moving as each discipline strengthens my skills.


Massachusetts College of Art, Boston, MA; Bachelor of Fine Art
School of the Museum of Fine Arts, Boston, Boston, MA; Summer Scholarship
Parsons The New School For Design, New York, NY
Art Students League, New York, NY
Silvermine Guild, New Canaan, CT
Lyme Academy, Old Lyme, CT, Figure Drawing, Deane Keller
Yale University, New Haven, CT, Advanced Seminars, Robert Reed


2016   3rd Place – Overall Category; 2nd – Place Painting Category, Light Space & Time Online Art Gallery, “Landscape Competition”
2015  Special Merit Award, Light Space & Time Online Art Gallery, “Animals Art Competition”
2015  Special Merit Award, Light Space & Time Online Art Gallery, “Open Art Competition”
2015  Special Merit Award, Light Space & Time Online Art Gallery, “Figurative Art Competition”
2014  Special Recognition Award, Light Space & Time Online Art Gallery, “Animals Art Exhibition”
2013  Special Merit Award, Light Space & Time Online Art Gallery, “All Women Art Competition”
2012  Honorable Mention, Lighthouse ArtCenter, Tequesta, FL, “D’Art for Art”
2012  Best in Show, Associations of Palm Beach & Martin Counties @ the Lighthouse ArtCenter, Tequesta, FL 2011   Second Place, North County Art Association, Tequesta, FL,
2010  Honorable Mention, Lighthouse ArtCenter, Tequesta, FL, “Painters of Scenery”
2010  Honorable Mention, Lighthouse ArtCenter, Tequesta, FL 2002  Award of Merit, Glenhyrst Art Gallery of Brant, Brantford, Ontario, Canada
1996  Distinction in Portraiture, Rockport Publishers, Rockport, MA  &
1995  Graphic Arts Award, All Island Art Show, Martha’s Vineyard, MA
1994  Artist Residency, Vermont Studio Center, Johnson, VT
1989  Honorable Mention, Watercolor, Stamford Festival of the Arts, Stamford, CT
1989  Honorable Mention, Other Media Stamford Festival of the Arts, Stamford, CT
1988  Artist Residency, Vermont Studio Center, Johnson, VT


2015-16  Governor’s Club POA, Chapel Hill, NC
2011   Art On Park Gallery, Figures & Movement, Lake Park, FL
2009  Port St Lucie Civic Center Art Gallery, Port St. Lucie, FL (w/Tess Lindsay)
2004  Glenhyrst Art Gallery of Brant, Diffused Landscapes, Brantford, ON, Canada (w/Scott Addis)
2002  Elysian Arts Gallery, Toronto, ON, Canada
1999  Old Sculpin Gallery, Edgartown, Martha’s Vineyard, MA
1999  Argonauta of Martha’s Vineyard, Still Life & Flowers, Oak Bluffs, Martha’s Vineyard, MA (w/Rosalie R. Shane)
1998  Old Sculpin Gallery, Edgartown, Martha’s Vineyard, MA
1998  Argonauta of Martha’s Vineyard, Oak Bluffs, Martha’s Vineyard, MA
1991   The Noroton Gallery & Frame Studio, Noroton, CT (w/Robert Woodmere)
1989  The Noroton Gallery & Frame Studio, Noroton, CT (w/ Judith Abbe Moore

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