Images on 8 1/2" x 11" self-adhesive paper. Each sheet contains
one image from a series of 5 proposed highway billboards. The images will
be distributed as mail art.
A 12" x 10" SASE is required for each image.
HOW TO LOCATE
A Mail Art Project
Montserrat College of Art
23 Essex Street
PO Box 26
Beverly, MA 01915
Mail with a SASE received during the month of April (April 2 - April 30,
2002 will be honored).
ABOUT THE ARTIST
1988 - present, Professor and Chair, Painting Department, Montserrat College
of Art, Beverly, MA
1986 - 87, Visiting Lecturer, Worcester State College, Worcester, MA
1983, Visiting Critic, Smith College, Northampton, MA
1982 - 83, Visiting Lecturer, University of Lowell (Now University of
Massachusetts), Lowell, MA
1972 - 81, Full-time Instructor, School of the Worcester Art Museum, Worcester,
1986, Purchase Prize, Trenton State College, Trenton, NJ
1980, 1978, 1976 Ford Foundation Faculty Grants
1977, Massachusetts Artists' Foundation Fellowship
1968, Yale Summer School of Music and Art Fellowship, Norfolk, CT
1971, MFA, Yale University, School of Art and Architecture, New Haven,
1969, BFA (Magna Cum Laude) University of Massachusetts, Amherst, MA
Collections: Museum of Modern Art, NYC, Danforth Museum of Art, Framingham,
MA, Trenton State College, Trenton, NJ, Worcester Art Museum Library,
Worcester, MA, Mount Wachusett Community College, Gardner, MA.
The underlying focus of my work is to bear witness to a world in constant
flux and filled with choice and struggle. It invites viewers to reflect
on a multitude of issues that surround all of us. I make work about what
I see happening around me. The world and some of it's complexities - conflict,
danger, time, place, history, religion, and rapid developments in science,
medicine, culture, and communications have been fair game as subjects
over the last fifteen to twenty years. As a result, my aesthetic concerns
and psychological well-being often aspire to marry the playful and beautiful
with serious and dangerous subject matter. Images are combined in imaginative
and aesthetic relationships in order to create narration and meaning.
Notions about narration and meaning in turn lead to unexpected imagery
and form. My intentions are not didatic. I believe that the work is rich
in possible interpretations, and that it can provoke as many questions
as answers. My process which explores affinities, oppositions, and hidden
meanings is essentially a speculative and poetic one.