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Slide Slam-Patchogue Arts Council Presentation by Mary Ahern

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Recently I had the honor to present my art and the meaning behind my thought process at Slide Slam. This event was sponsored by the Patchogue Arts Council and hosted by the Haven Gallery in Northport NY.

The presentation by the 20 selected Long Island artists was to display a slideshow of 15 images and speak for exactly 5 minutes each about the work. Such a daunting task proved to be an interesting challenge. How do you get to the essence of your work succinctly in such a short span of time?

With plenty of planning!

After the event, I created a video of my Slide Slam talk which you can see here.

Important for me was to convey how critical the garden is to my work. It is in fact the beginning of my creative workflow. In the garden I feel the power of the interconnectedness of all that surrounds me; the necessary ecological balance of the earth, climate, water and nutrients, that sustain the cycle of life.

The communities of birds, bees, insects and yes, humans to pollinate flowers with the assistance of the wind of course. This cooperation is the main critical component of maintaining not just my garden but our entire life here on earth as we know it. Without fertilization the cycle of life would die for all living things, not just for the loss of our beautiful garden flowers but for all our food sources as well.

To me, the garden is just a microcosm of the universe.

The vast beauty of color, fragrance and the architecture of each plant is created to seduce assistance in procreation. Each flower has evolved its own method for attracting exactly the pollinator they desire. Long tubes for hummingbirds, open centers for nice fat bumble bees. Certain colors are more visible to different insects than others. Fragrance signals an invitation to specific species that the time is right for fertilization. The Brugmansia is most fragrant in the late afternoon since it would rather have an energetic pollinator just arriving on their evening shift than a tired one at the end of it’s working day.

Working in and studying my own garden for the last 30 years has given me the unique opportunity to watch dynamic change occur. When my oak trees fell in Hurricane Sandy suddenly the types of plants that enjoyed their shade began to suffer from too much sun. I dug them up and moved them and their scorched leaves to where they would be more comfortable and replaced them with flowers that thrive in the drenching sun. Over time this would have happened naturally but I was able to speed up the process.

Each day in my garden I’m inspired by the energy of life. I carry this with me right into my studio where I allow that energy to inform my art.

 

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Enjoy Metal Weather Resistant Aluminum Art Outdoors Year Round

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Tired of the browns and grays and whites of winter? So am I!

I’m looking to get a jump on some brilliant color outside. I want to see color outside my windows, outside in my garden and outside on my deck. I’ll bet you are too.

Bright splashes of color greet me when the trees are bare and the shrubs covered with white snow. It is so cheery to see in the dead of winter. Seeing color reduces my stress. It probably does for you too. That’s why gardens are so relaxing.

ChromaLuxe exterior grade aluminum metal prints hanging in the garden all winter in the snow. Mary Ahern Artist

ChromaLuxe exterior aluminum prints hang outside in my garden all year long popping color when I most need it.

During the spring and summer I coordinate the color of my plantings with the colors in my art. It gives me a very creative palette of colors to work with. It adds to the fun of gardening.

I hang my aluminum art on the garage so I can see flowers all year from the windows in my home, I hang the art on my deck where we entertain and select art that color coordinates with my outdoor furniture. As a garden designer I’ve designed woodland walks around my home and studio and even hang art on the trees for when people wander around on my garden tours.

I tried a lot of products outdoors in my own garden on Long Island in New York where we get snow and ice in the winter and lots of heat in the summer. I found that not all aluminum is created equal since much of it warped in the extreme temperatures. Then I tried the ChromaLuxe brand of exterior grade aluminum. I’ve tested these prints throughout all the seasons and they have flourished in my garden for years.

In my video you can see some of the ways I’ve displayed my art in the garden and also the gardens of some of my happy customers. Take a look and be inspired.

Click here for the video.

Then have some fun. On my website I’ve introduced a separate category for the indoor/outdoor metal aluminum art with an augmented reality feature. Now you walk around your space with your mobile device and see how my art will look in your own setting. You can also try different sizes to see what will fit perfectly for you.

Seeing this live takes the stress out of deciding what art works for you. It is the ultimate in customizing your own living spaces both indoor or out. Try it now. No commitment to purchase is needed to see for yourself. Go to my online shop, click on the metal print category, select an image that intrigues you, change the size, try a different print, try a different space. Enjoy yourself now!

Don’t forget to contact me with your questions! I’d love to hear from you!

 

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Studio Glimpses Video-The Process of Creating the Painting: “Here I Am – Candy Wind Hibiscus”

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In my continuing series of Studio Glimpses, I love to respond to questions by my collectors. The process of how I created this painting is generally one of those most frequently asked.

You Tube Video link: (https://youtu.be/pgVtTmQX944)

In this video, I begin by showing you the photo of a flowering hibiscus from my own garden which was the inspiration for this artwork.
Here I write my thought process behind the stages visualized in the video. 

In my initial stage I work out the composition of the final art work and deciding whether it will be a square or a rectangle.

To work out the details of lights and darks that will be in the final painting I like to start with a tonal drawing. Using an HB weight graphite pencil I use my customary swirling strokes to give form to the drawing. Not being partial to outlines I don’t emphasize them but soften the edges by merging them slightly with strokes. 

In order to transfer the drawing to the canvas I used a mapped grid system. In this case, I put a transparent sheet of paper over the tonal drawing on which I’ve drawn a grid. After measuring the same grid on the canvas I was able to upsize the drawing onto the canvas. Using pastels I created an underdrawing of a neutral ochre color using the tonal drawing as my model, followed by a layer of neutral ochre oil paint which seals the surface of the gessoed canvas.

In the next stage, I applied thin coats of oil paints in layers recreating the original composition in the base colors allowing the underpainting to peak through. Many, many layers of thin glazes are applied to give dimension and form to the final painting.

Details are added during the later stages, I think of it as putting jewelry on after you get dressed to go to a party. You save the best for last.

Each day after if finish working on a painting in my studio I photograph it for reference and view the images on my computer to see the progress and decide if I want to make any changes along the way.

I prefer to work on thick gallery wrapped canvas and finish the work off with neutral floating frames. I aim for simplicity in form with exuberance and abundance in surface color. This painting has no visible brushstrokes which is also my preferred style of painting.

Mary Ahern-Original Fine Art and Prints

“Here I Am – Candy Wind Hibiscus” 20×20″ GW oil painting on canvas. $1,950.00.
For information about this original oil painting please Contact me directly.

I’m glad you came here so I can share my art with you.

Each person brings their own history, interpretation and emotion to a work of art.

My art isn’t complete without you. Thank you for being here. I love being an Artist!

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NAWA: National Association of Women Artists-New Member Induction & Show

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The New Members Exhibition is on display at the 

NAWA Gallery
315 West 39th St. Suite 508
New York, NY 10018

November 8 – December 4, 2018

On November 15, 2018 I was proud to be inducted into the National Association of Woment Artists, NAWA. I had submitted my portfolio, resume/CV, bio & artist’s statement for jurying into this historical organization that was founded in 1889 with a mission to create a greater opportunity for professional women artists in a male-dominated  art world. Sadly, this situation still exists to this day. We are still in need of a gathering of strong and resiliant women to promote and support each other and ourselves.

You can read more about the history of this organization on their website here: www.thenawa.org/nawa-history/

The induction ceremony was held at the Rubin Museum on 17th St. in Manhattan New York City. Attending artists spoke about their work with passion.

NAWA Induction Ceremony, Mary Ahern the Artist, Rubin Museum

Mary Ahern speaking about her art at the Rubin Museum Induction Ceremony of the National Associaton of Women Artists, NAWA.

Later that same day the Opening Reception of the New Members Show was held at the gallery of the NAWA on 39th St in NYC. The rooms were crowded with artists and guests. The artists had the opportunity to explain the ideas and inspiration behind their work on display.

NAWA Opening Reception with Mary Ahern

Mary Ahern speaking at the opening reception for the New Members Show at the NAWA gallery in NYC. Mary Ahern is speaking about her work on display behind her, “Candy Wind Hibiscus”, a 20×20″ GW, Oil on canvas. $1,950.

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Have Fun Buying Art Using Augmented Reality

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Selecting art to buy online can be daunting but it doesn’t have to be. In my Art Shop I’ve added a few features to help you take the guesswork out of what art and what size will work in your space and what will not. It’s called Live Preview AR (for Augmented Reality.)

Here’s a video I made to get you excited to try this yourself!

Using your own mobile device you can select a print from any of my collections of landscapes, floral portraits, still lifes and designer prints and view it through your on-board camera projected onto your wall space. You can resize the image of the print until you find that perfect sweet spot that will work for you in your own particular setting.

You can easily select different prints to view. Will a landscape style work or perhaps a square print? Choose prints to view either by clicking directly on their image in the category library or just press the left or right arrow to view the next in line. All the available sizes for each print are quickly and easily seen by you in the pull down menu right at your fingertips.

To exit Augmented Reality is easy and brings you right to the ordering page. You have an array of options in which to choose. What surface do you want for your print? Canvas, fine art paper, aluminum or acrylic? Once you decide the size and treatment you might consider a frame or matting depending on your choice of materials.

Now that your selection is made just click to see your shopping cart and the rest is a breeze. The hardest part will be anticipating the arrival of your very own piece of Art, custom chosen by you for your own special place. Enjoy!

 

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Studio Glimpses – The Making of the Pink Peony Painting

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All of my paintings start with the garden, mine or other gardens. On a trip one spring day in May as I wandered around the peony displays at the New York Botanical Garden, with my phone I took snapshots of many of the unbelievable peonies in their collection in full bloom.

Later that year on a cold winter day in December, sifting through my stash of photos, a particular pink peony image jumped out at me and demanded my attention. I knew we could develop a relationship together. It often takes months to complete a painting so I really have to love my subjects in order to spend that much time with them. We need to love each other.

Once deciding on the size of the canvas I want to use I sketch, using vine charcoal, to give the general outline of the final layout onto canvas prepped with multiple layers of gesso. Then I block in the areas of color, working on my lights and darks. Then I paint using many layers of thin glazing in order to get the vibrancy of color I crave.

Oil paints need a few days of drying times between layers and some of my paintings have 15 to 30 layers of glazing. In order to continue painting every day, I usually work on multiple paintings at a time. Each one a different day. A different palette of colors. A different stage of completion. I like the continuous challenge of picking up where I left off. I keep extensive notes at the end of each day for each painting. A sort of diary of each work.

I paint quite slowly and quite neatly. I don’t like to feel sticky so I’m cleaning brushes and washing my hands constantly. Gloves don’t work for me since I don’t like the barrier they put between my brush and my hand. Rolls of paper towels help with the tidiness of my style of workflow. In fact & have two different brands for two different uses.

I listen to music while I paint. During the duration of this particular painting, I was listening to many CDs of van Morrison music. I don’t know why. I just was. Sometimes I’m in a classic rock groove for weeks on end and other times might be jazz, classical or even new wave relaxation. I don’t plan it. It just happens.

I usually paint with just brushes, fan brushes in fact, but the center of this painting demanded a palette knife. It’s not something I usually turn to but since the painting had a mind of its own I complied. Glad I did since the center of this painting is rich with texture while the petals are completely without texture but rich in nuance.

I named this painting Centering – Pink Peony. The reason is that it represents two different views for me. I can see with my eyes that it’s an interpretation of a pink peony but in my soul I found it centered me. Made me contemplate the meaning of this painting, this flower, this world it had lived in and now lives in again but in a different way. One ephemeral, one eternal.

 

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Aluminum Prints of my Original Paintings

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Aluminum Print Display at the Bayard Cutting Arboretum of the art work of Mary Ahern

This was the display of my Aluminum Prints at my show at the Bayard Cutting Arboretum. You can purchase these for your own home and garden here.

I have always dreamed about having my Art displayed outside around my garden and outdoor living spaces. And now the technology has caught up with my dream. I have my original paintings printed under heat & pressure to create these very vibrant aluminum prints. They can have a glossy or matte finish to them and I haven’t any particular preference since I like them all.

Sunflowers and Purple Asters in a Home Entrance. Aluminum prints of original paintings by the artist Mary Ahern

Sunflowers and Purple Asters aluminum print at the entrance to the home of one of my collectors.

The weather-resistant aluminum which I’ve selected for my Art is thick and durable enough to survive and flourish in my garden throughout the 4 seasons and has been doing so since 2014. Because I wanted to make sure that the quality was right and the color lasted I tested many fabricators before offering the metal prints to my collectors. 

Sometimes I frame the pieces in simple aluminum frames but most often I just hang them outside, on the trees, on the fences and on the walls. What a delight to look out of my office and look at art instead of looking at my garage & thinking it needs powerwashing! Even better is looking out in a snow storm and seeing the brilliant color of summer flowers breaking through the white and gray backdrop.

When the birds decide to decorate the art, I just squirt the pieces with some window cleaner and using a paper towel I wipe them clean again. No problem.

The aluminum makes the colors pop whether they’re on a matte or glossy finish. Though these prints can be hung outdoors many of my collectors buy them for inside their homes. Either way, it’s a unique decor addition whether inside or out.

Go now to my website to see how these aluminum prints will look like in your own home and garden using the augmented reality feature on my website shop.

 

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Northport Art in the Park Annual Art Festival Event

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Art in the Park
Art, Music, Poetry and Dance Festival

A July summer event, featuring music, dance, poetry and over 30 artists displaying and selling their original work. Art show begins at 10am and festivities begin at 12pm. Free admission and a fun day for the entire family. Hours are 10am to 5pm.

Director: Lauren Paige  For Additional information write to the Northport Arts Coalition.

Join us for another exciting event in the picturesque Village of Northport, NY. This multi-disciplinary annual event is held in the Village Park at the foot of main street surrounded by the lush tableau of water, boats, trees, playgrounds and the old time Village feel of another, calmer and genteel era.

Mary Ahern Artist Northport Booth. Art for sale

To see and purchase my art anytime of year please visit my website shop. You won’t be disappointed!

 

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Apples in Boxes – Flowers in Squares – New Paintings on an Old Theme by Mary Ahern

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For decades I have been creating art in circles surrounded by squared edges. When I first made this type of work it was in the mid-1970’s. The circle was most often represented by an apple inside a square or cube. At that time it represented to me the yin and yang, female and male complements to our lives and our characters. The apple was an Eve figure, soft, female, curious, playful and seductive. The boxes were the rules, the male, the limitations, the protection and the containment of her attributes.

Apple in Boxes Pointilist drawing by Mary Ahern the Artist

Apples in Boxes – A pointillist drawing in ink on paper. c1970’s

 

I have recently returned to this theme but using flowers from my garden as the subjects rather than apples. It feels so calming to me when I create these voluptuous rounded floral paintings. This peony was the first in a series of exploring again the circle in a square imagery so I named it “Centering” because that is how I feel towards these works. I find my centering in two places, in my studio and in my garden. They completely complement each other, one provided by nature and one in interpreting that vision.

There is a difference between the imagery of then and now. These flowers, though they are encompassed in a square format canvas, they are not contained. They are bursting through the limitations of frame, of edges, of inhibition. They are positive and empowered by their form and by their explosive color. They are neither shy nor retiring. They declare themselves as having established their own space. They are declaring themselves as individuals.

Centering - Pink Peony Squared. Original oil painting by Mary Ahern the artist.

“Centering – Pink Peony” 36×36″ GW. Oil on Canvas. Original painting by Mary Ahern. To purchase or for additional information please contact the artist here.

 

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Not Just Another Flower Painting

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My Painting Studio. Mary Ahern Artist.

Paintings in progress in my studio. Visit my Art Shop.

The flowers I create in my studio with brush and canvas speak to me beyond their intricacy of form, color, ruffles and swirls. LIke everyone else they initially attract me with the way the color changes as the light graces their outer curves and when it delicately enters their inner recesses, their intimacy. The edges of petals dance like ballerina skirts bouncing in the breeze. Their edges are fluted, scalloped, curved and splayed defining their differences and embracing their similarities of purpose.

I love the architecture of flowers, not just how they grow on their stems, their height, their leaves and their unique outward appearance. I concentrate on the inner architecture of their center parts, the configurations of their pistils and stamens, their anthers laden with pollen. Quite frankly, these flowers are built to seduce their pollinators. The birds and the bees but also the billions of bugs who help by rolling in their pollen to feast and to share and to help create the next generation to grace the earth.

Flowers speak to me of our universe. Our purpose. Our endurance. Each flower is an individual with its own color, shape and form. It’s own choices of community, culture and companionship. It’s own needs for climate, food and water for sustenance. But we all share our need to survive, another season, another year, another generation.

Whether I am among the flowers in my garden or the flowers in my studio, I embrace our diversity and our commonalities. All these flowers in soil or on canvas speak beyond themselves, they’re ideas and thoughts beyond just the visual. They speak to the interior of our purpose and our minds. They are us.

My Garden with rhododendrons and hyacinths

A spring view in my garden makes my heart sing. Visit my Art Shop.

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Why Bigger Flowers Are Better

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Not until I studied botany and viewed flower structures under magnifying glasses and microscopes did I really appreciate their magnificence. As a life-long gardener I looked at and created landscapes, matching groups of plants to be seen from a distance, blending distant views of overall colors and shapes. Matching seasons and cultivation needs, heights and spreads contributing to the designs I created in gardens and on canvas in my landscape paintings.

Tulips in a May Garden. Mary Ahern the Aritst

A rainbow of colors in a friend’s May garden. Photo by Mary Ahern.

But that aha moment of peering dramatically close to the parts of a flower opened a whole new world of vision and contemplation for me.

By painting my flowers overly large and entirely out of scale from the real world, I try to bring that same sense of awe to my viewers. Show them something of what I see. I try to create for them their own aha moment of joy and wonder to take on their journey.

Yellow Tulip Squared

Yellow Tulip Squared. Various size prints available on canvas, fine art paper, metal and acrylic in my online shop.

 

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Floral Contemplations. The Duality of Vision. New Work by Mary Ahern at the Bayard Cutting Arboretum 2018

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Mary Ahern Studio with Work in Progress for show at the Bayard Cutting Arboretum

My studio was overflowing as I created new work for my show at the Bayard Cutting Arboretum

Mary Ahern brought her award-winning style of floral and garden inspired art to the Bayard Cutting Arboretum from May 17 through June 17, 2018. Three galleries of her floral portraits were on display at the historic Manor House at the Bayard Cutting Arboretum in Great River NY.

Mary Ahern, known for her brilliant floral and garden paintings was showing her latest large-scale flower portraits. As a passionate gardener who is inspired by the gardens she designed and tends surrounding her own studio, these flowers represent to her a microcosm of the universe. The large scale of these individual portraits asks questions beyond the canvas.

What is the purpose for such magnificence in nature? What is the reason for such color, such form, such diversity? What is their relationship to the communities in which they belong, their relationships with other plants and species that sustain them, invade them and nourish them. What of their lifecycle of birth, growth, senescence and rebirth? As humans, what can we learn from their seemingly simple existence?

Initially we see with our eyes. We name it, identify it and classify it. But we also have a duality of vision which allows us to contemplate with an inner vision. This art invites both the external and internal views.

Floral Contemplations. The Duality of Vision

New Work by Mary Ahern

May 17 – June 17, 2018
Bayard Cutting Arboretum
Historic Manor House 
440 Montauk Highway Great River NY 11739

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What I Did After Art School

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As I mentioned in a previous post, Professor Louis Finkelstein, the Art Department Chairman abruptly walked out on me at my senior thesis show when I mentioned that I was about to be a single mom declaring it to be impossible that I could also be an Artist. He previously had offered to sponsor me to the notable, Robert Pincus-Witten for a Whitney Museum Graduate Fellowship program but suddenly I was anathema. That event took my breath away for quite some time until I began to gather the pieces of me that felt flayed and strewn to the wind.

So what did I do to salvage my heart and soul? Since 4 years of art school didn’t train me for anything remotely connected with making a living, I knew I needed more education. I also found out that if you worked at a college your tuition was free. So I made a list of colleges I wanted to attend & found a job in the career services office at Barnard College. During my lunch hours, I attended computer programming classes at Columbia School of Engineering. Going from such intense right brain to left brain work was so difficult it often physically hurt.

Barnard at the time was a bastion of feminism and my boss, Martha Green guided me and untold numbers of other women into successful and rewarding careers based upon skills which, I for one did not know I had. She recognized in me untapped horizons and restored my confidence.

1986 Mary Ahern sells the Chyron Chameleon

Mary Ahern demonstrating the Chyron Chameleon electronic paint system 1986 at the Cablevision television studio in Woodbury New York

 

From the support and direction I received from the women surrounding me at Barnard, I launched my career into sales, because that’s where the money was, and computers, because that’s where the future was. I zig-zagged my career in computers over the years to capitalize on my Fine Arts degree by selling computer graphics equipment to the creative departments in the television broadcast and industries. My art helped me sell those systems.

So here I am, still painting, still an Artist, proud of having supported and raised my sons on my own. Now I work every day in my studio surrounded by the gardens I created that inspire my Art.

I kept my eyes and ears open and when one mentor slammed the door another mentor opened it for me so I could charge through. Success is the sweetest revenge. Thank you Martha!

Mary Ahern's studio February 2018

Mary Ahern’s studio. Still painting after all these years!

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Why I Never Met Robert Pincus-Witten

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Pincus-Witten, the art critic, curator, historian, author and individual who in 1971 coined the term, “Postminimalism” has died. It reminded me of a brush with greatness that never happened for me. Let me explain.

During my college years in the 1970’s in the Queens College art department program in New York, I was expressing myself with the same underlying emotional & intellectual content in a variety of mediums. It was a time of the emergence of feminism for me and the search for self. An awakening of the world I lived in, was raised in and thought I understood.

Boxed In. Sequential #4. by Mary Ahern Artist

Boxed In. Sequential #4. 12″ cube. Acrylic, Fishing Line, Fiberglass Insulation. © Mary Ahern.

I entered this program as an older student at the age of 27, married with two young children. Needless to say, I didn’t quite fit in with the rest of the much younger student body. Most of my creative work, rather than using the studios on campus, was done at home in my own studio/dining room after I put my sons to bed in the evening. This actually freed me to create more independently than I might otherwise have done.

I followed my own muse. I created sculptures and assemblages using acrylic boxes, clear fishing line, minimalism inspired grids, feminine but painful masses of pink fiberglass insulation. I used distorting mirrors, bindings, weavings of ropes/cords/threads in numerical sequencing. I painted windows where the panes of glass protected or imprisoned using the gridded mullions in defined mathematical ratios. I used graphite, pastel, cut paper & photography to explore my own body landscape and journey of discovery.

All my work at that time explored the balance of male/female, pain/protection, enclosure/exclusion, geometry/biomorphism, math/chaos. One side of me embraced the rigidity, consistency and comfort I found in minimalism but the other part of me was rebelling against those very same norms.

At my senior thesis show, all my work was on display, my sculpture, my drawings, paintings, assemblage, photography and my written papers. Years of independent thought, exploration and interpretation.

Louis Finkelstein was my advisor, a professor I had never met before nor taken a class with but a very prominent and influential person in the NYC art community of which I longed to be a part. He spent a great deal of time viewing my work, reading my papers and asking me questions of motivations & process.

He was impressed by my work. He told me that he said he was going to introduce me to Pincus-Witten and propose me for an independent studio fellowship offered by the Whitney Museum of Art. I was itching all over with the prickles of joy.

And then the ax fell. I mentioned to Prof. Finkelstein that I was in the process of a divorce and just straightening out the details because I had two small children.

Without one further question put to me, without one opportunity for me to elaborate, Finkelstein stood up from his stool (and here is where my memory is a little bit muddy) said either, “A divorced woman can’t be an artist” or “A divorced mother can’t be an artist”. And he walked out of my life taking with him my dreams of ever meeting Robert Pincus-Witten.

Next Step by Mary Ahern

Next Steps. Collage. Color-aid paper. 11×14″ Framed. © Mary Ahern.

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Starting an Oil Painting

Although my stretched store-bought cotton canvas is already prepared with gesso, I add 3 more layers with a light sanding in between each. This makes the canvas less absorbent in my opinion. Everyone has their own recipe and this is mine. I apply the gesso with a roller if the canvas is big or a large brush if it is smaller.

Once the gesso is dry, which is within the hour of the last coating, I use vine charcoal to outline my composition. Because the charcoal is rather dusty, I blow the excess off using either my breath or an aerosol can of dust remover depending on the size of the canvas.

Next, I then use a thin wash of burnt umber paint and a thinner medium to cover the rough charcoal drawing and begin the shading process. This also fixes the drawing to the canvas & prevents the charcoal from blending further. That layer will dry, depending on the medium you choose, in an hour or a day. I then begin another coat of underpainting using either a warm or cool brown or gray base color. This can either be considered an underpainting or if more detailed and finished it would be called a grisaille. Over an underpainting, I would paint using opaque pigments and over a grisaille, I would be using transparent pigments for glazing.

Once this is dry in 1-4 days depending on the mediums used, I then begin painting with color. This is the very classical beginning to an oil painting that I was taught by my professors during my college years in another place and another time. I’ve always been glad that I was able to receive a formal Art education and it has been the basis of all my work over the years.

 

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