Visual Artist
Seattle, Washington

I was born in Baltimore but have lived most of my adult life in Seattle. I am the oldest of four daughters. My partner is a writer and visual artist. My son has a passion for bass fishing and math. I work in a 3rd floor studio in my house which overlooks Lake Washington. I watch the crows fly by with bits of food in their beaks. Sometimes they perch on the rail of the deck outside my window to watch me paint. A bald eagle or heron will occasionally fly by. These are often my studio models and inspiration.


Earthly Paradise: Documents Northwest, Seattle Art Museum, March 30-October 8, 2000. 14 glass paintings (exhibited with James Washington jr.’s and Fitzgerald DeFreitas’ sculpture). “No Invitation to the Party” purchased by SAM for its permanent collection.


Tacoma Museum of Glass, November 2003, I have been invited to be the artist in residence for the month of November. I will be teaching reverse painting on glass and my work will be on display.

The NW Flower and Garden Show, February 19-23, 2003, Seattle Tilth Garden Display, Crows and Kites, 32″ X 38″ reverse painting on glass was a center piece in their organic gardening display. This exhibit won 1st prize in show, awarded by the Seattle Post Intelligencer.

Annex Theatre November, 1998- Hard Candy – 20′ X 40′ Room installation. Collaboration with Jessica Dodge. We wrapped the gallery with Mylar under red and yellow cellophane and ribbon to resemble a box of candy.

Annex Theatre September 1997 – Lydia’s Living Room 20′ X 40′ Room installation using afterlife images: paintings, sculpture, candelabras, flowers, furniture, etc. The play that was running was Morticians in Love, Lydia being the main character and mortician.

Bumbershoot Literary Awards 1997 – The Adventures of Einstein – 9 paintings 11″ X 18″, acrylic and paper on glass in black wood frames with stick matches. Each award represented a different “adventure”.

Bumbershoot Art Ventures Bumberbugs, 1993 40′ X 60′ white Styrofoam art installation for remote controlled insects to perform in. David Berger and I conceived and constructed project. We also choreographed the movement. Duane Dykstra ran sound. Peter Reiquim, Fred Metz and Lauren Grossman constructed insect bodies. Erling DeWinter and Zander Gillis operated pieces during performances. Video available.

Bumbershoot Visual Arts 1991 Sculptural Workers Kiosk collaboration with Charles Jones and Pat Barry 9′ X 12′ free standing kiosk art piece that celebrated our country’s unions as well as labor in general.

Seventy-five Targets 1991 visual art collaboration (with Jessica Dodge ) a street map of Seattle neighborhoods and surrounding communities that shows probable strategic air strike targets. The purpose of the piece is to provoke thought about how “war as an activity” effects civilian populations
(Subtitle: “Consider war; in our neighborhood/ in their neighborhood.”) Below you will find listed some of the increments of the whole project:

The Oregonian The Sunday Magazine Section of April 14,1991.
Reflex Magazine Project published in  May/June 1991 issue.
COCA (Center on Contemporary Art) Window Installation, April-May 1991
West Seattle Herald  Project published in Tim St. Clair’s Column, May 15,1991.

The Bakery of the Three Whores (Ink Pot Press; Sibyl James author) Book cover drawing – August, 1994

Stout Mama ( Paper Mache Press; Sibyl James: author) Book cover photograph – May 1993

1990 Bumbershoot cover art for “Art Bound” catalog, visual art exhibit. Ruth Askey curator.

Group W TV Television stage set/installation for “Red Sky Poetry Hour” (feature poet, Judith Roche). Aired May 28, 1988 on . Video available.

Skyviews magazine, centerfold drawing: “White Heat”, June 1987.

Here Today Gallery Stage sets & costumes; performance, July 1985


“New City/ New Space,” Oct 1990: 60′ by 20′ latex on clapboard. This piece was commissioned by Ruth Askey for the side of her two and a half story house . Ruth is an art curator and writer who moved to Seattle after having been extensively involved in the Los Angeles art community as a writer and curator for 15 years. The mural is a visual narrative of this transition.

“Street Music,” Sept 1988: 14′ by 12′ latex on cement. Authorized by the Pike Street Market Design and Historical Commissions. Funded by a group of private businessmen, headed by Karl Urseth. Located at the top level of the hillclimb in the Pike Street Market, it was the first mural ever approved by the Design and Historical Commissions.


Bohemian, June 1994
Fenix Underground, May 1994
Brothers’ Bistro, February 1995
Hi-Spot Cafe, April 1990
Oxford Club, February 1988
Here Today Gallery 1985
Ground Zero Gallery 1985
Fifth Avenue Gallery 1984


Build Wise, NW Biennial, Tacoma Art Museum, May – August 2004
Living with Migraines, exhibition in Chicago, IL Aug. Sept 2003
(2003 National Competition: I received their Special Merit Award. The National Migraine Institute purchased my painting, “Too Tight, Too Loud, Too Bright” for their permanent collection.)
Home Land, Port Angeles Fine Art Center, April 27- July 27, 2003
The Girly Fun Show, Consolidated Works, March 28, 2003
Isms, Ladyfest Art Exhibit, Pound Gallery, March 1-31, 2003
Naral Art Show, Italia Restaurant, Nov 1993
Wonderful World of Art, May 1993
Naral Art Show, Italia Restaurant, Nov 1992
507 Madison Gallery, Dec 1989
Arthead Gallery, Narrative Art Show, May 1987
Pierrot Gallery, Sept 1986
Oxford Club, “Double Image,” March 1986

Administration and Coordination

Ground Zero Visual and Performance Cooperative, Seattle. Visual art coordinator 1984.

Here Today Visual and Performance Cooperative, Seattle. Visual art coordinator 1985.

NARAL I organized and curated the visual arts portion of the yearly benefit auction. The exhibit was up for 1 month at Italia Restaurant before being taken to the Washington State Convention Center to be sold. I have acted as a consultant in following years for this event. 1992

Bumbershoot 1993, In partnership with David Berger, I managed all aspects of managing our grant budget and coordinated the artists and performers activities. We physically constructed the 60′ X 20′ installation and choreographed the performances. (Video available)

Oz Ball, Fashion show of 21 local clothing, hat and accessory designers’ work benefiting Reflex Magazine. I was one of four coordinators who planned and executed all aspects of this event which took place on March 16, 1996 at the Center on Contemporary Art.


Minneapolis School of Fine Arts, 1966 – 1968
Pratt Fine Arts, 1987 – 1988