Personal History

The Museum of Modern Art, in New York City, it’s 1959/60? I was about 6. Henri Rousseau’s The Dream stopped me dead. I knew then and there I wanted in on that magic making art that overpowers, change perspectives and revolutionizes looking.

I make etchings, drawings, artists’ books, videos and installations that comment on issues of social and personal identity, incessant migration and our shared physical and psychic places.

The various flavors of Modernism rocked my formative years, falling in love with Color Field painting, all Abstractions; Expressionism/Minimalism/Conceptual/Performance art. Wandering up and down Fifth Avenue, taking notes - hitting the big ones - the Guggenheim, MOMA, the Met, Jewish Museum. My inner debates on Braque or Picasso. Then studying in California, Bechtle/Diebenkorn/Light painters, heavy metal, creating with bronze/steel/installation art. The great Outdoors - Running Fence by Christo and mirrors in the ocean.

Ideas connect and disconnect relationships between reality and perception and question culture. My installations; Equal Rights, Reverence and Misunderstandings, dialogue between the political and the spiritual: site specific exhibitions like Echoes from the Future, They Wove their Dreams with Threads of Gold and the portfolio Weisse Frauen, hook into the personal as political.

Time based media like The Cleansing, Road Work and Baptism By Fire, ask if we are we restricted or persuaded by our culture. What is the symbiosis between time and change? What blends science, philosophy and history in work such as the installations Field Work and Obtusus Cum Acumine?

A bite of the Apple’s 1980’s club scene under/overground. Cool things. Max’s Kansas City, Club 57, Mudd Club, Danceteria. Walter De Maria’s New York Earth Room, James Turrell, Dan Flavin in Grand Central Station and heady atmosphere of the highfalutin art world of the time. Money gigs in Art Administration: Hudson River Museum, the Dia Art Foundation, the Children’s Storefront, the New York State Council on the Arts (NYSCA). Pratt and then teaching for the NYC Board of Education.

Looking, looking, looking. Listening, thinking, making.

Da qui - la morte del mio padre e il trasferimento in Umbria. Donatello, Alberto Burri, Mimmo Rotella, Alighiero Boetti, Arte Povera. New worlds of making.

Poi, di nuove in USA/NYC. Sposata. Divorziata. Sempre fare, fare, fare.

Tempo/Cambiamento. Change and time.