Prints from Drawings
In 2000, I began a series of austere graphic text drawings, which were composed of my hand-written transcriptions of passages from Henry James’ The Wings of the Dove, Freud’s Dora, the Hebrew Bible. I juxtaposed quotes as I saw confluences among these works. These works were both drawings and essays. Every word was legible, especially in the greatly enlarged pigment prints. Occasionally, I interjected my own thoughts between the quotations. As I worked, I began to think of these strands of text as neurons, the space between them as a synaptic gap, and the thought, either the reader’s or my own, that linked them as the neurotransmitter carrying an electrical current across the gap.
In the same year, I began a collaboration with master digital printmaker David Adamson, founder of Adamson Editions in Washington D.C., an association that continues to the present time. David’s associate John Hughes, David, and I also made a series of pigment prints based on my text drawings. Digital printing at this professional level allowed for an uncanny sense of graphite on a large scale, and for legibility of the text.
Prints from Paintings
In creating geometric abstraction prints like Candy and Interference, I was able to take advantage of the intensely-pigmented yet infinitely subtle range of hues that digital printing offers.
These digital files were not scans; every line was re-drawn, every shape a single digital color. They looked like paintings. In this fast-evolving medium, every few months the paper or the inks would improve and offer yet greater possibilities. I wanted to transpose some of my smallest oil paintings, two or three inches in either direction, into the largest scale possible. Though I had chosen to paint them on this diminutive scale, I saw that the intervals within the painting could withstand any magnification. For fun, my husband, architect Allan Greenberg, made a montage by placing one of these paintings, Remembering the Miracles, on the side of the National Museum of Women in the Arts.